Includes Wilson and Harris article in October 1978 issue of The Sciences.
Access to student records (consisting of graded materials and student recommendation letters), grant proposals sent to Harris for review by grant agencies, and part of his faculty recruitment files are restricted until 2081. Series 10. Computer Files are also restricted due to preservation concerns.
Marvin Harris papers, National Anthropological Archives, Smithsonian Institution.
This series, dated 1971-2007 and undated, consists of materials relating to Ortner's professional activities. These include notes, correspondence, drafts, newsclippings, photographs, and computer disks.
Subseries 6.1, Lectures, conferences, symposia, 1975-1986 and undated, includes Ortner's notes and research materials for these lectures or talks at conferences. Ortner's lecture addressing science and culture in modern society was for the Smithsonian Resident Associate Program in 1984. The research materials that accompany Ortner's notes for his lecture on science and religion follow the controversy and lawsuit over the National Museum of Natural History's exhibit on evolution, which opened in 1979. The materials from the Smithsonian's Seventh International Symposium, How Humans Adapt: A Biocultural Odyssey include files from Ortner's participation in the 1981 symposium. Drafts, book reviews, and public relations materials for the book that accompanied the symposium, which Ortner edited, are also included.
Subseries 6.2, Forensic work, 2002, 2007, includes correspondence, notes, photographs, CD-Roms, and floppy discs relating to forensic cases from outside agencies on which Ortner was asked to collaborate. In these cases Ortner used remains to determine cause of death, verify identity, or provide other information for the case.
Subseries 6.3 Other professional activities, 1971-2005, includes NMNH Research Associate Rebecca Ferrell's NIH grant proposal for a project titled "The Biology of Striae of Retzius in Human Tooth Enamel" that Ortner supervised in 2005; case reports Ortner organized and edited for the Paleopathology Newsletter; workshops he organized for the annual meetings of the Paleopathology Association from 1997-2002; and Ortner's short-courses in paleopathology. The material from the short-courses in paleopathology includes planning and correspondence from when they were offered as a lecture series at the Smithsonian Institution with Walter G. J. Putschar during the years 1971-1974 and 1985. The file also includes short-courses at the University of Bradford during the years 1988, 1994, 1998, 2001, 2003, 2005.
Subseries 6.4 Photographs, 1960s-2000s, includes slides, negatives, and prints depicting professional events, such as conferences and awards ceremonies; Ortner at work in his office or lab with colleagues and interns; and a few prints of unidentified specimens. Notable people included in these images are Thomas Dale Stewart and John Lawrence Angel. Also included are negatives of photographic portraits of children, probably Ortner's.
This series is arranged in 4 subseries: 6.1 Lectures, conferences, symposia, 1975-1986, undated; 6.2 Forensic work, 2002, 2007; 6.3 Other professional activities, 1971-2005; 6.4 Photographs, 1960s-2000s.
The floppy discs and CD-Roms are restricted for preservation reasons.
Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.
Donald J. Ortner Papers, National Anthropological Archives, Smithsonian Institution.
The papers of Donald J. Ortner were processed with the assistance
of the Smithsonian Institution's Collections Care and Preservation Fund.
Records in this series document Ojeda's professional relationships with museums, galleries, and civic and international organizations, as well as specific solo exhibitions and group exhibitions in which Ojeda participated.
Records include correspondence with individuals and organizations relating to arrangements for exhibiting, selling, or taking Ojeda's work on commission, as well as records of sales and exhibition-specific material such as price lists, contracts and legal records, printed matter, and scattered photographs.
Ojeda's relationship with Franz Bader, whose Franz Bader Gallery represented the artist for almost twenty years, is documented through files including detailed balance sheets, inventories, price lists, and receipts documenting sales and consignments of Ojeda's work, as well as records of four exhibitions and correspondence and memoranda documenting Ojeda's relationship with the gallery through location and management changes spanning over a decade. Also found is a video recording of an interview broadcast on television, probably related to the 1995 Inter-American Development Bank exhibition In Honor of Franz Bader.
Other galleries, museums, and organizations represented include several in Washington D. C., including The Phillips Collection; the Smithsonian's National Museum of American Art, which purchased prints by Ojeda for it's permanent collection; the Smithsonian's Resident Associate Program Tour, in which Ojeda participated; and the Gala Hispanic Theater, for whom Ojeda designed sets and produced posters for many years. The Gala Hispanic Theater records include documentation of Ojeda's protest over a GSA sponsored exhibition. Ojeda protested when eight panels with photos and texts describing present day Chile, Argentina, and Uruguay were pulled from the show, by removing his fourteen woodblock prints from the exhibition.
Also represented are international galleries and organizations, including embassies, and other cultural and municipal organizations in Colombia, Greece, Nicaragua, Puerto Rico, and Uruguay; U Galeria de Arte in Montevido, where Ojeda had exhibitions in the 1960s; Galerie les Lumières in Paris where Cristina Pareja organized exhibitions for Ojeda in the 1990s; and the International Monetary Fund Art Society.
Records are arranged alphabetically by name of individual, business, organization, or name of exhibition.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Mergenthaler Linotype Company Records, 1886-1997, Archives Center, National Museum of American History.
An interview of Janet W. Solinger conducted 2005 October 7, by Marc Pachter, for the Archives of American Art, in Solinger's home, in Washington, D.C.
Solinger speaks of living in New York in the 1960s, what she calls the "Golden Ages"; going to an exhibition of Mark Rothko's work with her sister; working as an administrator with the Jewish Museum in New York; the climate for women in the museum profession in the 1960s and 70s; becoming the director of publications at New York University; moving to Washington, D.C., to become director of the Smithsonian Resident Associates program; various public programs she created for the Smithsonian during her career; and becoming the vice president for public programs at the Corcoran Gallery of Art. She recalls Nelson Glick, Louis Finkelstein, Ben Heller, Robert Rauschenberg, Jasper Johns, Joan Rosebaum, Sam Hunter, Dillon Ripley, Lisa Taylor, David Levy, and others.
Biographical / Historical:
Janet Solinger is an arts administrator from Washington, D.C. Marc Pachter is the director of the National Portrait gallery, Smithsonian Institution, Washington, D.C.
Originally recorded 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 44 min.
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.
Arts administrators -- Washington (D.C.) -- Interviews Search this
These records reflect the growing scope and complexity of the Smithsonian during Ripley's tenure. They document the Smithsonian's changing administrative structure;
growing relationships with universities, foundations, and other external groups; efforts to attract more government support for the Smithsonian; pursuit of new initiatives
and programs; and the regular administrative activities of the Institution. The records for this period document the opening of the National Museum of History and Technology
(now the National Museum of American History); creation of the Office of Academic Studies and the Office of Smithsonian Symposia and Seminars; founding of the Smithsonian
Resident Associate Program; establishment of the Chesapeake Bay Center for Environmental Studies; opening of east and west wings of the National Museum of Natural History;
opening of the Anacostia Neighborhood Museum; beginning of the Festival of American Folklife; opening of the National Portrait Gallery; establishment of the Woodrow Wilson
International Center for Scholars; formation of the Smithsonian National Associates Program; and the opening of the Renwick Gallery.
In 1964 S. Dillon Ripley, formerly a Professor of Biology at Yale University and Director of its Peabody Museum of Natural History, succeeded Leonard Carmichael as
eighth Secretary of the Smithsonian Institution.