Search Results

Creator:

Smithsonian Marine Station at Fort Pierce  Search this

Type:

YouTube Videos

Uploaded:

2020-09-10T20:09:40.000Z

YouTube Category:

Education  Search this

Topic:

Natural History;Marine biology  Search this

See more by:

SmithsonianSMS

Data Source:

Smithsonian Marine Station at Fort Pierce

YouTube Channel:

SmithsonianSMS

EDAN-URL:

edanmdm:yt_C6DxyyQuauI

Distributed by:

Dundee-MacDonald Enterprises, Inc., American, founded 1963  Search this

Subject of:

Dundee's 5th St. Gym, American, 1950 - 1983  Search this

Muhammad Ali, American, 1942 - 2016  Search this

Sonny Liston, American, 1928 - 1970  Search this

Medium:

ink on paper

Dimensions:

H x W: 12 x 9 1/4 in. (30.5 x 23.5 cm)

Type:

press kits

Place depicted:

Miami Beach, Miami-Dade County, Florida, United States, North and Central America

Date:

February 1964

Topic:

African American  Search this

Athletes  Search this

Boxing  Search this

Mass media  Search this

Sports  Search this

U.S. History, 1961-1969  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Dwaine Simpson 5th St. Gym Museum Collection

Object number:

2011.56.3

Restrictions & Rights:

Unknown - Restrictions Possible

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials

Memorabilia and Ephemera-Advertisements

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5fd4cb328-8ef7-4d30-a7b2-b76f3da0100a

EDAN-URL:

edanmdm:nmaahc_2011.56.3

Collection Creator:

Catherine Viviano Gallery  Search this

Container:

Box 9, Folder 10

Type:

Archival materials

Date:

1954

Collection Restrictions:

Use of original papers requires an appointment.

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:

Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.

See more items in:

Catherine Viviano Gallery records

Catherine Viviano Gallery records / Series 2: Correspondence / 2.2: Correspondence with Museums, Galleries, and Art-Related Institutions, United States

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-cathvivi-ref875

Collection Creator:

Rudolph Wurlitzer Company  Search this

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

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.

Collection Citation:

Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0469, Subseries 14.178

See more items in:

Wurlitzer Company Records

Wurlitzer Company Records / Series 14: Drawings

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0469-ref2821

Collection Creator:

Rudolph Wurlitzer Company  Search this

Container:

Map-folder 11c

Type:

Archival materials

Date:

1926-11-07

Collection Restrictions:

Collection is open for research.

Collection Rights:

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.

Collection Citation:

Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History

See more items in:

Wurlitzer Company Records

Wurlitzer Company Records / Series 14: Drawings / 14.178: University of Miami - Coral Gables, Florida

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0469-ref2822

Interviewee:

Brito, María Cristina, 1947-  Search this

Brito, María Cristina, 1947-  Search this

Interviewer:

Martínez, Juan A  Search this

Type:

Interviews

Sound recordings

Topic:

Latino and Latin American artists  Search this

Cuban American art  Search this

Cuban American artists  Search this

Art, Modern  Search this

Women artists  Search this

Women sculptors  Search this

Theme:

Latino and Latin American  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)5441

(DSI-AAA_SIRISBib)216457

AAA_collcode_brito97

Theme:

Latino and Latin American

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216457

Interviewee:

Carlson, William, 1950-  Search this

Creator:

Riedel, Mija, 1958-  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

Alfred University -- Students  Search this

Art Students League (New York, N.Y.) -- Students  Search this

Cleveland Institute of Art -- Students  Search this

Lowe Art Museum  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Pilchuck Glass Center (Stanwood, Wash.)  Search this

University of Illinois at Urbana-Champaign -- Faculty  Search this

University of Miami -- Faculty  Search this

Billeci, Andre  Search this

Carpenter, James, 1949-  Search this

Chihuly, Dale, 1941-  Search this

Dailey, Dan, 1947-  Search this

Daley, William, 1925-  Search this

Fereighi, Christine  Search this

Heizer, Michael, 1944-  Search this

Heller, Doug, 1946-  Search this

Hilton, Eric  Search this

Marquis, Richard, 1945-  Search this

Marx, Bonnie  Search this

Matta-Clark, Gordon, 1943-1978  Search this

Serra, Richard, 1938-  Search this

Smith, Terry, 1960 June 15-  Search this

Stella, Frank  Search this

Young, Brent  Search this

Extent:

7 Items (Sound recording: 7 sound files (4 hr., 6 min.), digital, wav)

89 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2009 June 24-25

Scope and Contents:

An interview of William Douglas Carlson conducted 2009 June 24-25, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Carlson's home, in Miami, Florida.

Carlson discusses his move to the University of Miami in 2003 after 27 years at the University of Illinois in Urbana-Champaign; his recent site-specific installation Procellous Wall at the Lowe Art Museum in Coral Gables, Florida; the change in his work since his move to Miami, finishing a series of pieces that began in 2000 dealing with language, and his sense of being in a transitional period with his work; growing up in a small town in Ohio, and his early use of adhesives, the field his father worked in, as the spur for his later work in laminating glass; classes at the Art Students League in New York City and Woodstock, New York; attending the Cleveland Institute of Art; spending the summer of 1971 in Stanwood, Washington, helping set up the Pilchuck Glass School, then returning to set up a glass program at the Cleveland Institute of Art with Christine Federighi; the lure of glass, and the danger that its beauty can overshadow artistic substance, which led in part to his decision to mix it with other materials; the influence of minimalism and of Russian constructivism, architecture and modern design; graduate studies at Alfred University, Alfred, New York; accepting a teaching job at the University of Illinois in 1976; work with lamination and expanding scale in his work; use of Vitrolite; large-scale installation work, beginning in the early 1980s, including Optional Refractions and Allele; reflection on the deliberate, design-focused nature of his work; his language series beginning in 2000; the series Pragnanz; philosophy of teaching; the value of intensive learning environments such as craft schools compared with the cross pollination of ideas available at a larger university; the imperative for craft to integrate new materials, technology, and ideas while retaining the importance of the hand; the role of galleries and collectors, and involvement in larger art and craft venues, including the May Show and SOFA; his stint as a judge in a barbecued rib cook-off; the effect of seminal exhibitions such as like "Objects: USA," [1969] and "Poetry of the Physical" (1986) in setting a standard of professionalism for and providing visibility to makers; impact of his international travel; a turn away from pure design and towards a more poetic ambiance in the language series; the use of projected light and his use of cast prismatic shadows in his installation The Nature of Things in Jacksonville, Florida; the issue of scale in his work; artists whose work he admires, including Frank Stella, Richard Serra, Michael Heizer, Tony Smith, Gordon Matta-Clark, William Daley; studio glass as an international movement; involvement with various craft organizations, and wrestling with the definition of a craft artist; preparations to move to Massachusetts and spend some contemplative time thinking about and working on new directions. He recalls Brent Young, Dale Chihuly, Jamie Carpenter, Christine Federighi, Richard Marquis, Eric Hilton, Andre Billeci, Dan Dailey, Doug Heller and Bonnie Marx.

Biographical / Historical:

William Douglas Carlson (1950- ) is a glass artist and educator in Miami, Florida. Carlson was educated at Alfred University.

General:

Originally recorded on 2 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 6 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.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Constructivism (Art)  Search this

Glass art -- Technique  Search this

Glass art -- Study and teaching  Search this

Glass artists -- Florida -- Interviews  Search this

Minimal art  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.carlso09

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-carlso09

Interviewee:

Brito, Maria, 1947-  Search this

Interviewer:

Martínez, Juan A.  Search this

Extent:

115 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1997 October 25

Scope and Contents:

An interview of Cuban born sculptor María Brito conducted 1997 October 25, by Juan A. Martínez, in Brito's home/studio, Miami, Florida, for the Archives of American Art.

Brito speaks of her birthplace, Havana, Cuba, and her early art education at the Edison School; her travels to Miami as part of the Peter Pan Project in 1961; her art studies at the Miami-Dade Community College and the University of Miami. She also comments on the Museum of Contemporary Hispanic Art (MOCHA) in New York, The Decade Show, her first exhibition in Miami at Gallery 24 in 1980, and other exhibitions.

Biographical / Historical:

María Brito (1947-) is a sculptor from Miami, Florida. Born in Havana, Cuba.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 2 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.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Sculptors -- Florida -- Miami  Search this

Installation artists -- Florida -- Miami  Search this

Topic:

Latino and Latin American artists  Search this

Cuban American art  Search this

Cuban American artists  Search this

Art, Modern  Search this

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Funding for the digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.brito97

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-brito97

Collector:

University of Miami  Search this

Ocean/Sea/Gulf:

North Atlantic Ocean  Search this

Vessel:

Columbus Iselin R/V  Search this

Depth (m):

1290 - 1290

Preparation:

Alcohol (Ethanol)

Place:

Tongue Of The Ocean, SE Of Andros Island, Bahamas, North Atlantic Ocean

Collection Date:

4 Jul 1972

Common name:

Holothuroids

Published Name:

Benthodytes typica Théel, 1882

USNM Number:

1005934

See more items in:

Invertebrate Zoology

Echinodermata

Data Source:

NMNH - Invertebrate Zoology Dept.

GUID:

http://n2t.net/ark:/65665/35f0249cf-ec81-4a97-acef-da410a5a4752

EDAN-URL:

edanmdm:nmnhinvertebratezoology_792186

Preparation:

Photograph

Place:

USA, Florida, Miami, University of Miami

Common name:

earleaf acacia

Taxonomy:

Plantae Dicotyledonae Fabales Fabaceae Caesalpinioideae

Published Name:

Acacia auriculiformis A. Cunn. ex Benth.

See more items in:

Botany

Non-specimen graphic

Plant Image Collection

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/30292a602-1163-4ea6-a547-5e8aa21b703f

EDAN-URL:

edanmdm:nmnhbotany_10332430

Creator:

Blanc, Giulio V.  Search this

Names:

Cuban Museum of Arts and Culture (Miami, Fla.)  Search this

Brito, Maria, 1947-  Search this

Cano, Margarita, 1932-  Search this

Cano, Pablo  Search this

Carreño, Mario  Search this

Carulla, Ramón, 1938-  Search this

Demi, 1955-  Search this

Garcia, Hernan, 1935-  Search this

Gattorno, Antonio  Search this

Gaztelu, A. (Angel)  Search this

Goldman, Shifra M., 1926-2011  Search this

Gómez-Peña, Guillermo  Search this

Lam, Wifredo  Search this

Larraz, Julio  Search this

Libin, Victoria  Search this

Macia, Carlos A., 1951-1994  Search this

Martínez-Cañas, María  Search this

Riverón, Enrique  Search this

Rodríguez, Arturo, 1956-  Search this

Sánchez, Juan, 1954-  Search this

Sí, Juan  Search this

Trasobares, César  Search this

Vater, Regina  Search this

Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this

Interviewee:

Cabrera, Lydia  Search this

Gómez Sicre, José  Search this

Extent:

11 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Date:

1920-1995

Summary:

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

Scope and Content Note:

The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.

Arrangement:

The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Missing Title

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)

Biographical Note:

Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

Missing Title

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.

Related Materials:

Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.

Provenance:

Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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 historians -- Florida -- Miami  Search this

Topic:

Cuban American art  Search this

Art, Latin American  Search this

Artists -- Cuba  Search this

Cuban American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Citation:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

Identifier:

AAA.blangiul

See more items in:

Giulio V. Blanc papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-blangiul

Collection Creator:

Blanc, Giulio V.  Search this

Container:

Box 8, Folder 94-98

Type:

Archival materials

Date:

1991-1995, undated

Scope and Contents note:

(letters to Blanc concerning exhibition, artists' biographical material, press releases and public program announcements, newspaper clippings, color photographs of artwork from the collection of Dr. and Mrs. Francisco Venegas, Miami, FL.)

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:

Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.

See more items in:

Giulio V. Blanc papers

Giulio V. Blanc papers / Series 4: Exhibition Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-blangiul-ref1109

Author:

Gouré, Leon  Search this

Collection Creator:

Hardesty, Von, 1939-  Search this

Container:

Box 39, Folder 14

Type:

Archival materials

Text

Date:

1976

Scope and Contents:

Leon Goure, War Survival in Soviet Strategy - USSR Civil Defense (Carol Gables, FL: University of Miami Center for Advanced International Studies, 1976). Extracts (photocopy)

Collection Restrictions:

No restrictions on access.

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Russian Aeronautical Collection, ACC. 2006-0034, National Air and Space Museum, Smithsonian Institution.

See more items in:

Russian Aeronautical Collection

Russian Aeronautical Collection / Series 4: Soviet Union and Russia (post World War II, 1946-Onwards)

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-2006-0034-ref1345

Collection Creator:

Simon, Sidney, 1917-1997  Search this

Container:

Box 7, Folder 4

Type:

Archival materials

Date:

1979

Collection Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.

See more items in:

Sidney Simon papers

Sidney Simon papers / Series 9: Photographs / 9.2: Photograph Albums

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-simosidn-ref427

Creator:

Singer, S. Fred (Siegfried Fred), 1924-  Search this

Names:

National Environmental Satellite Center (U.S.)  Search this

United States. Department of Commerce  Search this

United States. Department of Transportation  Search this

United States. Department of the Interior  Search this

United States. Office of Naval Research  Search this

University of Maryland at College Park  Search this

University of Miami. School of Environmental and Planetary Science  Search this

University of Virginia  Search this

Singer, S. Fred (Siegfried Fred), 1924-  Search this

Extent:

54.5 Cubic feet ((50 records center boxes))

Type:

Collection descriptions

Archival materials

Publications

Photographs

Drawings

Financial records

Notes

Correspondence

Place:

Outer space -- Exploration -- United States

Outer space -- Exploration

Date:

1953-1989

bulk 1960-1980

Scope and Contents:

This collection consists of Singer's personal papers. The material consists of correspondence and research files, as well as financial records. The collection covers Singer's career beginning with his tenure at Maryland and continued through his retirement in 1989.

Biographical / Historical:

Dr. Siegfried Fred Singer (1924- ) is a professor, physicist, and administrator. Singer emigrated to the United States from Vienna in 1940 (naturalized 1944) and attended Ohio State University (BEE 1943; D.Sc. (honorary) 1970) and Princeton (AM 1944, Ph.D. (physics) 1948). He taught briefly as a doctoral candidate at Princeton (1943-44) before joining the Johns Hopkins University Applied Physics Laboratory as a physicist (1946-50). He acted as the Office of Naval Research Scientific Liaison Officer at the US Embassy in London (1950-53), then joined the faculty of the University of Maryland (assoc. professor, physics 1953-59; professor 1959-62). He continued to alternate between public and academic positions, working at the National Weather Satellite Center, Department of Commerce (Director, 1962-64); School of Environmental and Planetary Science, University of Miami (Dean, 1964-67); Department of the Interior (Deputy Assistant Secretary for Water Quality and Research, 1967-70); University of Virginia (Professor, Environmental Science, 1971-87); and the Department of Transportation (Chief Scientist, 1987-89). Singer authored a number of papers and articles on astrophysics, space exploration, and environmental issues and was involved in formulating public policies on these topics.

General:

NASMrev

Provenance:

S. Fred Singer, gift, 1989, 1989-0130, unknown

Restrictions:

No restrictions on access

Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests

Topic:

Astrophysics  Search this

Environmental sciences  Search this

Aeronautics, Commercial  Search this

Aeronautics and state  Search this

Aeronautics  Search this

Astronautics and state  Search this

Astronautics  Search this

Periodicals  Search this

Genre/Form:

Publications

Photographs

Drawings

Financial records

Notes

Correspondence

Identifier:

NASM.1989.0130

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_collection:sova-nasm-1989-0130

Collection Creator:

Perls Galleries  Search this

Container:

Box 40, Folder 54

Type:

Archival materials

Date:

1953-1954

Collection Restrictions:

Use of original papers requires an appointment.

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:

Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.

See more items in:

Perls Galleries records

Perls Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-perlgall-ref2031

Collection Creator:

Smithsonian Institution  Search this

Computerworld Magazine.  Search this

Collection Source:

National Museum of American History (U.S.). Division of Computers, Information and Society  Search this

Container:

Box 20 (Series 20), Folder 12

Type:

Archival materials

Date:

1995

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright held by donor and/or heirs. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.] .

Collection Citation:

The Computer World Smithsonian Awards, Archives Center, National Museum of American History

See more items in:

Computer World Smithsonian Awards

Computer World Smithsonian Awards / Series 8: Awards / 8.8: Medicine

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0425-ref4610

Collection Creator:

Brooks, Arthur Raymond, 1895-1991  Search this

Container:

Box 10, Folder 17

Type:

Archival materials

Date:

November 1961

1961-05

1930-07

Scope and Contents:

Massachusetts Institute of Technology, vol. 32, no. 8, July 1930; vol. 63, no. 7, May 1961; and vol. 64, no. 1, November 1961.

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.

See more items in:

Arthur Raymond Brooks Collection

Arthur Raymond Brooks Collection / Series 1: Professional Materials / 1.8: Magazines

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-1989-0104-ref314

Collection Creator:

Tworkov, Jack  Search this

Container:

Box 4, Folder 40

Type:

Archival materials

Date:

1968-1980

Scope and Contents note:

University of Chicago

University of Delaware

University of Hawaii at Manoa

University of Illinois at Champaign, Krannert Art Museum

University of Illinois at Chicago Circle

University of Kentucky

University of Maryland

University of Miami

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

Reels N70-38 and 62: Authorization to publish, quote, or reproduce requires written permission from Helen Tworkov or Hermine Ford. Contact Reference Services for more information.

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:

Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Jack Tworkov papers

Jack Tworkov papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-tworjack2-ref424

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 38, Folder 47

Type:

Archival materials

Date:

1954

Scope and Contents note:

(University of Miami Lowe Gallery)

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is closed to researchers.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

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:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 3: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kraugall-ref2904