The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by artist Thiago Rocha Pitta, 2008.
Scope and Contents:
The papers of Victor Zamudio-Taylor measure 1.1 linear feet and date from 1999 to 2013. The papers consist of some biographical material, administrative files, financial records, correspondence, writings, exhibition files, artists' files, photographs and printed material relating to Victor Zamudio-Taylor's work as an art historian and curator and his work for the Jumex Foundation in Mexico. Also included is a DVD of a project, "The Secret Sharer," by Thiago Rocha Pitta, 2008.
Professional material consists of some identification cards and copies of passports, correspondence, notes and a notebook, and files related to exhibitions he curated. Some of the exhibitions include: "Light/Art: Mythic Crystal Revelation," "Where Do We Go From Here? Selections from La Coleccion Jumex," and "Now: Works From La Jumex Collection." Business records include some expense sheets for Jumex Foundation, price lists, receipts, and invoices. Printed material consists of articles, clippings, exhibition announcements and catalogs, and a series of spiral booklets for exhibitions done in collaboration with the Jumex Foundation. The booklets contain images of artwork, some exhibition text, and articles. Photographic material consists of photographs of Zamudio-Taylor and colleagues, photographs of artwork and exhibitions featuring the Jumex Foundation, and photographs and slides of artwork by other artists that Zamudio curated exhibitions for.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Activity Files, 2001-2012 (0.6 linear feet: Box 1, OV 2)
Series 2: Personal Business Records, 2009-2013 (0.1 linear feet; Box 1)
Series 3: Printed Material, 2004-2012 (0.3 linear feet; Box 1)
Series 4: Photographic Material, circa 2000-2009 (0.1 linear feet; Box 1)
Biographical / Historical:
Victor Zamudio-Taylor (1956-2013) was an art historian and curator in San Francisco, California and Mexico City. Zamudio-Taylor worked as an advisor to the Jumex Foundation's president, Eugenio López-Alonso. He was also a Rockefeller Foundation senior associate researcher at the National Museum of American Art in Washington, D.C. He was responsible for shows including "Ultra Baroque: Aspects of Post Latin American Art," exhibited at the Museum of Contemporary Art in San Diego in 2001, and "Cities Scape" staged at ARCO in 2006.
Provenance:
Donated 2016 by Sophia Zamudio-Haas, Zamudio-Taylor's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- California -- San Francisco Search this
Art historians -- California -- San Francisco Search this
The papers of New York video artist and painter Robert Wiegand measure 10.9 linear feet and 0.001 GB and date from 1953 to 1994. Found within the collection are biographical materials, correspondence, art project and exhibition files, printed abd digital materials, video art, photographs, and industrial and miscellaneous video recordings. About one-half of the collection is comprised of video recordings.
Scope and Contents:
The papers of New York video artist and painter Robert Wiegand measure 10.9 linear feet and 0.001 GB and date from 1953 to 1994. Found within the collection are biographical materials, correspondence, art project and exhibition files, printed and digital materials, video art, photographs, and industrial and miscellaneous video recordings. About one-half of the collection is comprised of video recordings.
Biographical materials include school yearbooks, video and paper documentation from his 1991 wedding, and photograph and video documentation of his funeral and memorial service in 1994. Also found are resumes and Wiegand's SoHo live/work artist permit from 1976.
Correspondence is comprised primarily of letters written by Wiegand, some in digital format, and a handful of letters received. Outgoing letters mainly concern Wiegand's video production work for hire and other personal financial matters. Letters received relate primarily to Wiegand's painting sales, and are from James McLeon, Vivian Browne, Susan Larson, Burt Chernow, and Alexandra Rose. Additional correspondence can be found in the project files.
Project files include documentation of the 1968 inagural "10 Downtown" exhibition, the City Walls mural project, a multimedia art work created through the Experiments in Art and Technology (EAT) project called Changes, the products of the 1978 trip to India, including the video work Snapshots of an Indian Day, the "Madama Butterfly" video production produced by Wiegand, and the artist panel series ArtistsTalkonArt. The files contain a wide variety of documentation, such as correspondence, event flyers and press materials, photographs, slides, and videos.
Printed materials include exhibition and event announcements and catalogs, clippings and reviews, magazine publications, and published books that contain Wiegand's work. There is also one scrapbook compiled by Wiegand for his 5th One Man Show of Paintings at the Phoenix Gallery in New York City.
Video artworks created by Wiegand, often made in collaboration with his wife Ingrid, include Georges, Julie, Moran, Omar is El Uno, Nat, Walking (interstices), Face-Off, and How to tell an artist with Dr. Sheldon Cholst. Photographs include a combination of personal and professional photographs, although most of the materials are slides of artworks and events. Of note are slides from the "Bicentennial Banners" exhibition that Wiegand was invited to participate in and that was on display at the Smithsonian's Hirshhorn Museum in 1976.
The last series contains over 4 linear feet of all other video recordings and includes industry productions, independent projects, performance documentation, work samples, and works by others. Notable among these productions are documentation of Pamela Stockwell's reenactment of the Tomkins Square Park riots of 1988 and footage of performers Carolee Schneemann, Trisha Brown, Laura Foreman, and Leonard Horowitz, among others.
Arrangement:
The collection is arranged as seven series.
Missing Title
Series 1: Biographical Material, 1953-1994 (Boxes 1-2, 11; 1.5 linear feet)
Series 2: Correspondence and Letters, 1962-1990 (Box 2; .3 linear feet, ER01; 0.001 GB)
Series 3: Project Files, 1968-1992 (Boxes 2-3, 11; 1.1 linear feet)
Series 4: Printed Materials, 1959-1990 (Boxes 3-4, 11; .7 linear feet)
Series 5: Video Art, 1970-1982 (Boxes 4-5; 1 linear feet)
Series 6: Photographs, 1953-1994 (Boxes 5-6; 1 linear feet)
Series 7: Other Video Recordings, 1968-1992 (Boxes 6-10; 4.7 linear feet)
Biographical / Historical:
Robert Nelson Wiegand (1934-1994) was a painter and video artist who worked and lived in New York City. Robert Wiegand's interest in art extended well beyond the point of creation, and throughout his life he worked not only as painter, but also as a teacher, advocate, and documentarian of the arts in New York City.
Born in Long Island in 1934, Wiegand attended the State University of New York, College of Buffalo and received a degree in arts education. He returned to New York City and became active in the artist community in SoHo. He was one of the co-founders of the SoHo Artists Association, an artists' organization formed to advocate for legalizing artist loft live/work spaces in lower Manhattan in the 1960s.
Wiegand married his first wife Ingrid in 1964, and they collaborated on many creative endeavors. They adopted two children from India, Indira and Pratap (also known as Peter), and separated in 1990. He married painter Lynn Braswell in 1991.
As a painter, Wiegand's work was highly geometric and influenced by the Abstract Expressionist movement. He exhibited paintings in one-man shows in New York City at the Phoenix Gallery and at the Levitan Gallery. In 1968, Wiegand participated in the first "10 Downtown" exhibition, where artists exhibited in their own studios in a move to overcome exclusive gallery representation practices. After painting a few exterior house murals, Wiegand co-founded City Walls, a New York City mural project that was funded by the National Endowment for the Arts. Through this project he became responsible for a handful of the murals in lower Manhattan. In 1968, Wiegand collaborated with Lloyed Kreutzer, a Bell Labs physicist specializing in lasers, to create the installation work Changes as part of Experiments In Art and Technology's (EAT) 1968 competition bringing together artists and engineers. It was then shown at Wiegand's studio in 1969. Wiegand was also one of the co-founders of ArtistsTalkOnArt, an artist run non-profit organization that continues to program weekly artist panel discussions in Soho, NY. It was co-founded in 1974 by Wiegand, Lori Antonacci, and Douglas Sheer, with Irving Sandler, Cynthia Navaretta, Bruce Barton and Corinne Robins joining the first board of directors in early 1975.
Wiegand became interested in video in the 1960s after using it as a documentary tool in the successful effort to legalize loft living in lower Manhattan. He then began creating video artworks, many of which were collaborations with his wife Ingrid. They received a grant from the Rockefeller Foundation in 1977 to produce a documentary on middle class life in India called Snapshots of an Indian Day. It was shown at The Kitchen and Anthology Film Archives before being acquired by the Everson Museum of Art in Syracuse, NY. In 1980, with the help of his students from the Global Village Intensive Video Workshop, Wiegand directed, shot, and edited the Brooklyn Opera Society's production Madama Butterfly at the Brooklyn Botanical Gardens and Tea House, and the production aired on WNYC-TV 13 as part of its Other Voices: New York series.
From 1971 to 1980, Wiegand ran his own commercial video company, Wiegand Video, where he produced corporate and industry training films. From 1980 to 1987, he worked as a project manager and producer for Square Twelve Productions, continuing to produce commercial work. His clients included the American Society for Mechanical Engineers and International Business Machines.
Wiegand also taught art and video production at the Staten Island Academy from 1961-1971, studio and television production at the New School for Social Research from 1980 to 1984, and field production at the Lehman College City University of NY. He also taught in the New York City C.E.T.A. program in media training and was a visiting media production instructor at the University of North Carolina at Greensboro.
Towards the end of his life, Wiegand changed careers and became a social worker. Robert Wiegand died in New York City in 1994, just after his 60th birthday.
Separated Materials:
Twenty sound cassettes of interviews and lectures were removed from the collection and returned to the organization that created them, ArtistsTalkOnArt. A few video cassettes are still found in the collection from that series.
Provenance:
The collection was donated by Lynn Braswell, Robert Wiegand's widow, in 1998 and 2000.
Restrictions:
Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Use of original papers requires an appointment.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Video artists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Photographs
Video recordings
Citation:
Robert Wiegand papers and video art, 1953-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by by a grant from the Mellon Foundation through the Council of Library and Information Resources' Hidden Collections grant program.
Rockefeller Foundation, American Music Recording Project, 1973
Container:
Box 16 of 20
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 07-142, National Museum of American History, Division of Music, Sports, and Entertainment, Curatorial Records
Smithsonian Institution Archives, Accession 07-142, National Museum of American History, Division of Music, Sports, and Entertainment, Curatorial Records
Rockefeller Foundation, Recorded Anthology of American Music, 1978
Container:
Box 16 of 20
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 07-142, National Museum of American History, Division of Music, Sports, and Entertainment, Curatorial Records
Music of the Federal Era, 1978. New World Records. Code NW 299. Cynthia Adams Hoover wrote scholarly notes "The Instruments & Performance Practices." She served with Professor Richard Crawford as editor and organizer of repertoire and notes for this re...
Container:
Box 20 of 20
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 07-142, National Museum of American History, Division of Music, Sports, and Entertainment, Curatorial Records
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
(public television documentary series; TYF's notes on Cynthia Chavez: Commentary; note to TYF from Antonio [?], Rockefeller Foundation, 05/30/[1991]; letter to TYF from Rick Tejada-Flores, 05/28/1991; project proposal)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
La Reconquista: A Post-Columbian New World, Exhibition, 3rd International Bienali Istanbul, Istanbul, Turkey (see also: Avalos, David; Centro Cultural de La Raza; Mesa-Bains, Amalia; Sánchez, Robert),
(catalog; clippings; memo to Marian Godrey, Pew Charitable Trusts and Suzanne Sato, Rockefeller Foundation, from Vanessa Palmer, Arts International, 10/30/1992)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
( New Art Examiner Dec. 1990 issue, cover article on CARA; dissertation proposal, "'Mi Casa [No] Es Su Casa': The Cultural Politics of the Chicano Art: Resistance and Affirmation, 1965-1985 Exhibit", Alicia Gaspar de Alba, University of New Mexico, 1992; "The Power of Place" (UCLA Graduate School of Architecture & Urban Planning Embassy Auditorium public art project) proposal for Rockefeller Foundation funding: cover letter, 08/16/1990, narrative proposal, budget, supporting materials; "Artes de México" Festival: memo to committee, 08/27/1990, list of committee members, fax, 09/20/1990; press release; invitation to lecture focusing on "The Contadora Process and the Beyond War Award"; Texas Small Press Book Fair announcement; calendar from Sacramento City Councilman Joe Serna; Mississippi American Festival Project calendaer of events; CARA exhibition calendar of events, Fresno Art Museum; clippings; May/June 1993 issue of La Peña: Latino Arts News)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(letter to Constance Wolf, Rockefeller Foundation, from Cindi Dale, Director Education and Community Development, Wight Art Gallery, 04/16/1990, re. CARA education program; general correspondence between CARA organizers and institutions re. the exhibition; letter to TYF from Elizabeth Shepard inviting him to loan two pieces of art, 02/12/1990; invitation to private tour of CARA at UCLA; letter to TYF from Chon [Noriega], 08/08, re. CARA Film & Video Series; program copy of CARA Film & Video Series; letter to John Lane, Director San Francisco Museum of Modern Art, from Marcos Sanchez-Tranquilino, 06/17/1991, and response, 07/09/1991; essay, "The Political and Social Contexts of Chicano Art" by Shifra M. Goldman and TYF; CARA travel schedule)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
