The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Scope and Contents:
The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Arrangement:
The collection is arranged into one series
Series 1: Marie Romero Cash papers, 1981-2021 (0.7 linear feet; Box 1, OV 2-3, Artifact 4)
Biographical / Historical:
Marie Romero Cash (1942- ) is an artist and Santera (saint artist) living in Santa Fe, New Mexico. Cash has completed commissions for St. Francis Cathedral in Santa Fe, New Mexico, the Cathedral Church of St. John in Albuquerque, and for various other churches in New Mexico.
Provenance:
Donated 2017 and 2022 by Marie Romero Cash.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
From the soaring skyscrapers of New York City to the adobe churches of New Mexico, from the sturdy stone walls of New England to the majestic monuments of the nation's capital, master craftworkers in the building arts have brought enduring beauty to our built environment. Working in wood, stone, brick, and metal, in plaster, paint, glass, and clay, they transform designs on paper into three-dimensional works of art. Much depends on their workmanship and skill: on their deep understanding of raw materials, their careful selection and use of tools, their mastery of technique. The final product is the result not only of their knowledge and abilities, but also their creativity and care - their will to excellence.
Artisans in the building trades share a deep appreciation for the aesthetic value and expressive power of technical perfection. They delight in skill and find meaning and pleasure in the poetic qualities of workmanship - in their ability to craft objects of beauty and strength through their special touch. Their great pride and creative spirit, their love for their work, and their commitment to excellence are manifested in a lasting legacy of architectural achievement left behind for generations to come.
The 2000 Festival program celebrated the extraordinary artistry of craftspeople in the building arts and explored the many challenges they face today as they work to preserve our nation's past and build for the future. The Festival brought together a selection of master artisans - stone carvers, masons, carpenters, terra cotta artisans, plasterers, blacksmiths, stained glass artisans, and adobe builders - who have enriched our world with the work of their hands, and who educated and informed Festival visitors not only with their skills but also with their knowledge and lore.
Marjorie Hunt was Curator and James Deutsch was Program Coordinator; Betty Belanus was Education Specialist and Family Activity Guide Coordinator. An Advisory Committee included: J. Bryan Blundell, Kurt Dewhurst, William Dupont, Cynthia Field, Henry Glassie, Norman Koonce, Betty Monkman, Peter Nabokov, Joanna Reagan, Rex Scouten, William Seale, Chris Sturbaum, John Michael Vlach, and Ed Worthy.
The program was produced in collaboration with the International Union of Bricklayers and Allied Craftworkers and the International Masonry Institute, the National Trust for Historic Preservation, the National Building Museum, the American Institute of Architects, and the Preservation Trades Network. Major funding was provided by Homestore.com, the Marble Institute of America, Allied Stone Industries, the Building Stone Institute, the Indiana Limestone Institute, and the National Building Granite Quarries Association. Major contributors included Target Stores, the Associated General Contractors of America, the National Association of Realtors, and the Smithsonian Women's Committee. Additional donors included the School of the Building Arts, Duron, Inc., the Brick Industry Association, the Laborers' International Union of North America, the Smithsonian Educational Outreach Fund, and the Copper Development Association, Inc.
Researchers:
Jane Beck, Betty Belanus, Ray Brassieur, Amanda Dargan, James Deutsch, Kurt Dewhurst, Karen Duffy, Lynn Martin Graton, Dwight Pauahi Kauahikaua, Winnie Lambrecht, Tim Lloyd, Gregory Sharrow, Gary Stanton, David Taylor, Elaine Thatcher, John Michael Vlach
Presenters:
Betty Belanus, Barry Bergey, Ray Brassieur, Olivia Cadaval, Amanda Dargan, William Dupont, Brian Finnegan, Lynn Martin Graton, Tim Lloyd, Philip "Pete" Pederson, Clift Seferlis, Peter Seitel, Gregory Sharrow, Angelo Simone, Nick Spitzer, Gary Stanton, David Taylor, Elaine Thatcher, Cynthia Vidaurri, John Michael Vlach
Participants:
David Adams, historic preservation specialist, Portsmouth, New Hampshire
Robert Alger, stone carver, sculptor, Spencerville, Maryland
Joseph Alonso, stone mason, Vienna, Virginia
Onofre Anguiano, terra cotta hand presser, mold maker, Lincoln, Calif.
Walter S. Arnold, stone carver, Skokie, Illinois
Sam Baca, program director, Cornerstones Community Partnerships, Santa Fe, New Mexico
Earl A. Barthe, 1932-2010, plasterer, historian and consultant, New Orleans, Louisiana
Hurchail Barthe, plasterer, New Orleans, Louisiana
Terry Barthe, plasterer, historic housing specialist, New Orleans, Louisiana
Nick Benson, stone carver, letterer, Newport, Rhode Island
Johan Bjurman, decorative painter, Cheshire, Connecticut
Anna Bowen, stone carver, letterer, Newport, Rhode Island
Tom Weddle, restoration carpenter, Bloomington, Indiana
Bob Wooldridge, slater, Mercersburg, Pennsylvania
Jeff Wooldridge, slater, project manager, Bethesda, Maryland
Bill Yeingst, curator, National Museum of American History, Smithsonian Institution, Washington, D.C.
Pauli Zmolek, decorative painter, Takoma Park, Maryland
INTERNATIONAL UNION OF BRICKLAYERS AND ALLIED CRAFTWORKERS (BAC), INTERNATIONAL MASONRY INSTITUTE (IMI)
Frank Baiocchi, marble mason, Mt. Airy, Maryland
Ed Bellucci, IMI deputy director of Apprenticeship and Training, Jefferson, Maryland
Robert Bernardon, marble mason, Suitland, Maryland
Lewis Carrara, mosaic worker, Fortville, Indiana
Raoul Cervantes, bricklayer, Claremont, California
Kurt Colo, bricklayer, New Baltimore, Michigan
Laird Donaldson, IMI regional director, Auburn, Washington
James Farris, stone mason, Stafford, Virginia
Richard Francescon, marble mason, South Easton, Massachusetts
Greg Hartseil, IMI Job Corps regional director, Lorida, Florida
Dennis Holloway, IMI Scola Training Center director, West Babylon, New York
Mike Kassman, IMI pointing, cleaning, and caulking instructor, Waynesboro, Pennsylvania
Tony Kassman, IMI National Safety, pointing, cleaning, and caulking coordinator, Tonawanda, New York
John Kitchen, bricklayer apprentice, Dryden, New York
Frank Koletar, refractory bricklayer, Orchard Park, New York
Annette Ludwig, tile layer, Bellevue, Washington
Nelson McMath, BAC Local 9 Michigan field representative, Saline, Michigan
Tom McQuaid, BAC Local 1 DC, MONA secretary, treasurer, Gettysburg, Pennsylvania
Steve Martini, IMI Strategic Programs director, Cascade, Maryland
Steve Mason, terrazzo apprentice, Washington, D.C.
Antoine Matthews, bricklayer, Baltimore, Maryland
Michael Menegazzi, IMI terrazzo instructor, South Gate, California
Bob Mion, IMI tile, marble, and terrazzo instructor, Binghamton, New York
Guillermo Moreno, stone mason, Hyattsville, Maryland
Colleen Muldoon, coordinator of Education Programs, bricklayer, Baltimore, Maryland
Clarence Nichols, IMI deputy director of Apprenticeship and Training, Cumberland, Maryland
Angela Olszewski, tile layer, Jersey City, New Jersey
Lester Parnell, bricklayer, Detroit, Michigan
Bob Perry, IMI regional director, Culver City, California
Darren Raines, tile layer, Chicago, Illinois
Matthew Redabaugh, IMI coordinator of Special Projects, Cascade, Maryland
Butch Rovder, BAC stone craft director, South Riding, Virginia
Joe Stewart, BAC pointing, cleaning, and caulking craft director, Pittsburgh, Pennsylvania
Gene Stinner, IMI director of Apprenticeship and Training, Cascade, Maryland
Dennis Studley, IMI Job Corps regional director, Yucaipa, California
Harold Sugg, refractory bricklayer, West Seneca, New York
Jimmy Ternent, marble mason, Westminster, Maryland
John Totten, IMI plaster instructor, Clintondale, New York
Drew Vecchione, IMI stone instructor, Flourtown, Pennsylvania
Battista Yon, bricklayer, Hyattsville, Maryland
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."
The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.
Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.
Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.
Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.
Missing Title
Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)
Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)
Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)
Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)
Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)
Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)
Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.
Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.
Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.
Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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 critics -- California -- San Francisco Search this
Art historians -- California -- San Francisco Search this
Authors -- California -- San Francisco Search this
Lit the work of Rose B. Simpson essays by Porter Swentzell and Yve Chavez ; [edited by Tobi Lopez Taylor, Jonathan Batkin, Ashley Baranyk, and Denise Neil ; photos of Rose B. Simpson and her exhibition by Minesh Bacrania ; studio photos of Rose B. Simpson's work by Addison Doty]
United States of America -- New Mexico -- Santa Fe County -- Santa Fe
Date:
09/01/1993
General:
" Once an old apple orchard, this twelve year old garden is a one acre walled oasis in the high desert. A one-quarter acre pond, complete with koi and ducks, circulates 200,000 gallons of water through a wetland purification system (seven small ponds) that separates numerous perennial and bulb beds, a fruit orchard and various small groves of globe willow, birch, aspen and poplar; all designed to highlight the dozens of realistic bronze and stone sculptures and fountains throughout the garden. - From researcher Cheryl Nance." Fenn garden with Glenna Goodacre sculpture, Bather.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- New Mexico -- Santa Fe County -- Santa Fe
Date:
1993 Sep.
General:
" Once an old apple orchard, this twelve year old garden is a one acre walled oasis in the high desert. A one-quarter acre pond, complete with koi and ducks, circulates 200,000 gallons of water through a wetland purification system (seven small ponds) that separates numerous perennial and bulb beds, a fruit orchard and various small groves of globe willow, birch, aspen and poplar; all designed to highlight the dozens of realistic bronze and stone sculptures and fountains throughout the garden. - From researcher Cheryl Nance." View of north side of garden.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
An interview of Judy Chicago conducted 2009 August 7 and 8, by Judith Olch Richards, for the Archives of American Art, at Chicago's home and studio, in Belen, New Mexico.
Chicago speaks of her work since the late 1980s, having previously discussed her early life and works; printmaking projects with various print studios around the country; giving archived documents to important museums; creating a foundation with her husband Donald Woodman to protect the legacy of their art; the non-profit organization she started in 1978, Through the Flower; her studio practices and her most practiced techniques; keeping a regular schedule; her interest in collaborative projects such as The Dinner Party [1974-1979], the Birth Project [1980-1985], the Holocaust Project [1985-1993] and Resolutions: A Stitch in Time [1994-2000]; working with various textile and glass artists; feeling a kin with other female artists, like Nikki de Saint Phalle and Marisol Escobar; the responsibility she feels to share underrepresented information; her enjoyment of the process of making art and the hope that she creates art that is not bound by time; her relationships with galleries though the years including the ACA Galleries in New York and LewAllen Contemporary in Santa Fe; her intention in making art was not create proactive or controversial art; various teaching positions; her interest in combining text and images in works like Song of Songs [1997-1999]; her more current interest in glass; experimenting with the techniques of casting and etching to achieve her desired images; her want to change institutional policies that underrepresent women artists in museums and the absence of images of women by women artists. Chicago also recalls Henry Hopkins, Mary Ross Taylor, Susannah Rodee, John Bullard, Jack Lemon, Alice Neel, Edward Lucie-Smith, John Copeland, Harold Rosenberg, Carolee Schneemann, Jeffery Bergen, Audrey Flack, Joan Semmel, Nancy Youdelman, David McFadden, Viki Thomson Wylder, Tom Pruitt, Arlene LewAllen, Flo Perkins, Norman and Ruth Dobbins, Karen LaMonte, Lu Jie and others.
Biographical / Historical:
Interviewee Judy Chicago (1939- ) is a feminist artist and author who lives and works in Belen, New Mexico. Interviewer Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
General:
Originally recorded on 4 compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 40 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Installation artists -- California -- Los Angeles Search this
Performance artists -- California -- Los Angeles Search this
Sculptors -- California -- Los Angeles Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Eugenie Shonnard, 1964 February 27-1964 April 9. Archives of American Art, Smithsonian Institution.
