The Literary Corner: Jonathan Peters on Wole Soyinka (side a) / A Comparative Analysis of African and Afro American Literature with Mildred Hill and the Conclusion to the Literary Corner Series (side b)
Title:
Cassette tape with two episodes of the Literary Corner radio program
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
The Literary Corner: Introduction to Afro-American Essays with Sarah Fabio and Thomas Schick (side a) / Introduction to African English Drama with Brooks Robinson (side b)
Title:
Cassette tape with two episodes of the Literary Corner radio program
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
Most of Ruth Landes's papers relate directly or indirectly to Landes's American Indian research, her work in Brazil, and her study of bilingualism. There is also a considerable amount of material that relates to her experiences (sometimes fictionalized) at Fisk University. There is only small amount of material related to her other interests. Her collection also has material of and relating to the Brazilian folklorist and journalist Edison Carneiro. There is also noteworthy material concerning Herbert Baldus, Ruth Benedict, Elmer C. Imes, Charles S. Johnson, and Robert E. Park. There is a large amount of printed and processed materials in the collection, mainly in the form of newspaper clippings and a collection of scholarly papers.
Scope and Contents:
This collection is mainly comprised of the professional papers of Ruth Schlossberg Landes. Included are correspondence, journals, published and unpublished manuscripts of writings, research materials including field notes and reading notes, photographs, drawings, scholarly papers and publications by other scholars, and clippings from newspapers and periodicals.
Landes's field research on Candomblé in Brazil is well-represented in this collection, consisting of her field journals, writings, and photographs. Also present are Maggie Wilson's stories that were the basis for Landes's The Ojibwa Woman. Unfortunately, Landes was unable to locate her journals for her early research with the Ojibwa/Chippewa, Potawatomi, and Dakota. There are, however, field photographs of the Ojibwa/Chippewa and Potawatomi in the collection. There is also a great deal of her research on groups, especially minorities, in multilingual states with particular focus on the French of Quebec, Basques of Spain and the United States, Boers and Blacks of South Africa, the several socio-linguistic groups of Switzerland, and Acadians (Cajuns) of Louisiana. In the collection are several drafts of her unpublished manuscript on bilingualism, "Tongues that Defy the State." There is also a small amount of material about Black Jews of New York and considerable material about Landes's experience among African Americans when she taught briefly at Fisk University, including her unpublished manuscript "Now, at Athens," containing fictional and autobiographical accounts of her time at Fisk.
Reflections of other facets of Landes's professional activities are also included. Some materials concern her teaching activities, and there is also documentation of her work with the Fair Employment Practices Commission (a federal government agency during the administration of Franklin D. Roosevelt) and a similar private organization which immediately succeeded the FEPA; Gunnar Myrdal's research into the plight of African Americans ("The Negro in America"); the Research in Contemporary Cultures project at Columbia University; and the American Jewish Congress.
Among Landes's correspondents are Ruth Benedict, Franz Boas, Margaret Mead, Ralph Bunche, Herbert Baldus, Edison Carneiro, Sally Chilver, Frances Densmore, Sol Tax, Elmer S. Imes, Charles S. Johnson, Robert E. Park, and Hendrik W. van der Merwe.
Arrangement:
The collection is organized into 6 series: (1) Correspondence, 1931-1991; (2) Research Materials, circa 1930s-1990; (3) Writings, circa 1930s-1990; (4) Teaching Materials, 1935-1975, undated; (5) Biographical and Personal Files, 1928-1988; (6) Graphic Materials, 1933-1978, undated
Biographical Note:
Ruth Schlossberg Landes was born on October 8, 1908 in New York City. Her father was Joseph Schlossberg, an activist in the Yiddish labor socialist community and one of the founders of the Amalgamated Clothing Workers of America. She studied sociology at New York University (B.A. 1928) and social work at the New York School of Social Work, Columbia University (M.S.W. 1929). While in graduate school, Landes studied Black Jews in Harlem for her master's thesis, a topic that developed her interests in anthropology.
After graduating in 1929, she worked as a social worker in Harlem and married Victor Landes, a medical student and son of family friends. Their marriage ended after two years when she enrolled in the doctoral program in anthropology at Columbia against her husband's wishes. She kept his surname due to the stigma of being a divorced woman.
At Columbia, Landes studied under Franz Boas and Ruth Benedict, her main advisor. Under the guidance of Benedict, Landes moved away from further study of African Americans to focus on Native American communities. Upon Benedict's suggestion, Landes studied the social organization of the Ojibwa in Manitou Rapids in Ontario from 1932 to 1936 for her Ph.D. fieldwork. Her dissertation, Ojibwa Sociology, was published in 1937. Landes also contributed "The Ojibwa of Canada" in Cooperation and Competition among Primitive Peoples (1937), a volume edited by Margaret Mead. In 1938, Landes published Ojibwa Women (1938), a book written in collaboration with Maggie Wilson, an Ojibwa interpreter and informant.
In addition to studying the Ojibwa in Ontario, Landes also conducted fieldwork with the Chippewa of Red Lake, Minnesota in 1933, working closely with shaman or midé Will Rogers. Her book, Ojibwa Religion and the Midéwiwin (1968) was based largely on her research with Rogers and Maggie Wilson. In 1935 and 1936, she undertook fieldwork with the Santee Dakota in Minnesota and the Potawatomi in Kansas. Like Ojibwa Religion and the Midéwiwin, her books on the Santee Dakota and Potawatomi were not published until several years later—The Mystic Lake Sioux: Sociology of the Mdewakantonwan Sioux was published in 1968 while The Prairie Potawatomi was published in 1970. In between her field research in the 1930s and the publication of The Prairie Potawatomi, Landes returned to Kansas to study the Potawatomi in the 1950s and 1960s.
Landes's plan to continue her studies with the Potawatomi in 1937 changed when Benedict invited her to join a team of researchers from Columbia University in Brazil. Landes was to conduct research on Afro-Brazilians in Bahia, Brazil, while Walter Lipkind, Buell Quain, and Charles Wagley studied indigenous people in the Amazons. To prepare for her research, Landes was at Fisk University in Nashville, Tennessee in 1937 and 1938 to consult with Robert Park and Donald Pierson and to use the university's library collections of African and African American materials. During that time, Landes also held a teaching position at Fisk and lived in the non-segregated women's residence on campus. Landes later wrote "Now, at Athens," an unpublished memoir containing fictional and true accounts of her experiences at Fisk.
From 1938 to 1939, Landes conducted fieldwork on the role of Afro-Brazilian women and homosexuals in the Candomblé religion in Bahia, Brazil. Unable to move freely by herself in Brazil as a single woman, Landes was accompanied by Edison Carneiro, a Bahian journalist and folklorist. With Carneiro as her companion, Landes was allowed access to rituals and people that would have been closed off to her otherwise. Due to her association with Carneiro, a member of the Brazilian Communist Party, Landes was suspected of being a communist and was forced to leave Bahia early. Publications from her research in Brazil include "A Cult Matriarchate and Male Homosexuality" (1940) and City of Women (1947). She returned to Brazil in 1966 to study the effects of urban development in Rio de Janeiro. In 1967, a Portuguese translation of City of Women was published, a project that Carneiro had commissioned as the first director of the Ministry of Education and Culture's Special National Agency for the Protection of Folklore.
Landes returned to New York in 1939, working briefly as a researcher for Gunnar Myrdal's study of African Americans. Unable to obtain a permanent position at a university, she worked in several other short term positions throughout most of her career. During World War II, Landes was a research director for the Office of the Coordinator for Inter-American Affairs (1941) and consultant for President Franklin D. Roosevelt's Fair Employment Practices Committee on African American and Mexican American cases (1941-44). In 1945, Landes directed a program created by Pearl S. Buck and a group of interdenominational clergy to analyze pending New York anti-discrimination legislation. She moved to California the following year to work for the Los Angeles Metropolitan Welfare Council on a study of race and youth gangs. After her contract ended, she moved back to New York and was hired as a contract researcher for the American Jewish Congress (1948-50). She also participated in Columbia University's Research in Contemporary Cultures (1949-51), studying Jewish families. She coauthored with Mark Zborowski, "Hypothesis concerning the Eastern European Jewish Family." From 1951 to 1952, Landes spent a year in London, funded by a Fulbright fellowship to study colored colonial immigrants and race relations in Great Britain.
After her fellowship ended, Landes returned to the United States and held short term appointments at several universities. She taught at the William Alanson White Psychiatric Institution in New York (1953-54), the New School for Social Research in New York (1953-55), University of Kansas (1957, 1964), University of Southern California (1957-62), Columbia University (1963), Los Angeles State College (1963), and Tulane University (1964). At Claremont Graduate School, Landes helped to develop and direct the Claremont Anthropology and Education Program (1959-62).
It was not until 1965 that Landes obtained a permanent faculty position at McMaster University in Hamilton, Ontario; she was recruited for the position by Richard Slobodin. Due to Ontario's age retirement law, Landes was forced to retire in 1973 at the age of 65. She continued to teach part-time until 1977, when she became professor emerita.
Landes passed away at the age of 82 on February 11, 1991.
Sources Consulted
Cole, Sally. 2003. Ruth Landes: A Life in Anthropology. Lincoln, Nebraska: University of Nebraska Press.
Chronology
1908 October 8 -- Born Ruth Schlossberg in New York City
1928 -- B.A. in sociology, New York University
1929 -- M.S.W., New York School of Social Work, Columbia University
1929-1931 -- Social worker in Harlem Married to Victor Landes
1929-1934 -- Studied Black Jews in Harlem
1931 -- Began graduate work in anthropology at Columbia University
1932-1936 -- Studied the Ojibwa in Ontario and Minnesota (in field periodically)
1933-1940 -- Research Fellow, Columbia University
1935 Summer-Fall -- Studied the Santee Sioux (Dakota) in Minnesota
1935-1936 -- Studied the Potawatomi in Kansas
1935 -- Ph.D., Columbia University
1937 -- Instructor, Brooklyn College
1937-1938 -- Instructor, Fisk University
1938-1939 -- Studied Afro-Brazilians and Candomblé in Brazil, especially at Bahia
1939 -- Researcher on Gunnar Myrdal's study, "The Negro in America"
1941 -- Research Director, Office of Inter American Affairs, Washington, D.C.
1941-1945 -- Representative for Negro and Mexican American Affairs, Fair Employment Practices Committee (FEPC), President Franklin D. Roosevelt Administration
1944 -- Interim Director, Committee Against Racial Discrimination, New York
1946-1947 -- Researcher, study of Mexican American youth, gangs, and families, Los Angeles Metropolitan Council
1948-1951 -- Researcher, American Jewish Congress, New York
1949-1951 -- Research consultant, study on Jewish families in New York for Research in Contemporary Cultures Project, Columbia University
1951-1952 -- Fulbright Scholar, to study colored colonial immigration into Great Britain
1953-1954 -- Lecturer, William Alanson White Psychiatric Institution, New York
1953-1955 -- Lecturer, New School for Social Research, New York
1956-1957 -- Married to Ignacio Lutero Lopez
1957 Summer -- Visiting Professor, University of Kansas
1957-1958 -- Visiting Professor, University of Southern California
1957-1965 -- Consultant, California agencies (Department of Social Work, Bureau of Mental Hygiene, Department of Education, Public Health Department) and San Francisco Police Department
1958-1959 -- Director, Geriatrics Program, Los Angeles City Health Department
1959-1962 -- Visiting Professor and Director of Anthropology and Education Program, Claremont Graduate School
1962 -- Extension Lecturer, University of California, Los Angeles and University of California, Berkeley
1963 -- Extension Lecturer, Columbia University Extension Lecturer, Los Angeles State College
1963-1965 -- Consultant, International Business Machines (IBM)
1964 January-June -- Visiting Professor, Tulane University
1964 Summer -- Field work with Potawatomi in Kansas Professor, University of Kansas
1965-1975 -- Professor at McMaster University
1966 -- Studied urban development in Rio de Janeiro
1968-1975 -- Studied bilingualism and biculturalism in Spain, Switzerland, South Africa, United States, and Canada (in Spain and the United States concentrated on Basques)
1975 -- Became part-time faculty member at McMaster University
1977 -- Professor Emerita, McMaster University
1978 -- Award of Merit from the University of Wisconsin, Green Bay
1991 February 11 -- Died in Hamilton, Ontario
1991 -- Establishment of the Ruth Landes Memorial Research Fund at Research Institute for the Study of Man (RISM)
Related Materials:
Correspondence from Ruth Landes can be found in the William Duncan Strong Papers, the Leonard Bloomfield Papers, and MS 7369. The Ruth Bunzel Papers contains a copy of a grant application by Landes.
Provenance:
These papers were donated to the National Anthropological Archives by Ruth Landes in 1991.
Restrictions:
The Ruth Landes papers are open for research. The nitrate negatives in this collection have been separated from the collection and stored offsite. Access to nitrate negatives is restricted due to preservation concerns.
Access to the Ruth Landes papers requires an appointment.
Ruth Landes papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The revision of this finding aid and digitization of portions of the collection were made possible through the financial support of the Ruth Landes Memorial Research Fund.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
University of Wisconsin--Madison -- Faculty Search this
University of Wisconsin--Madison -- Students Search this
Extent:
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2002 June 16
Scope and Contents:
An interview of Joyce Marquess Carey conducted 2002 June 16, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Carey's home, in Madison, Wisconsin.
Carey speaks of growing up in Redding, California; her widowed mother working to support Carey and herself; her "lonesome" childhood and her eagerness to leave Redding to attend the University of California at Berkeley; majoring in English; meeting her husband Harlan (Mark) Marquess in her senior year at Berkeley and marrying him; dropping out of college; regretting her marriage; her life as a housewife and mother in the late 1950s and 1960s; moving to Madison, Wisconsin, for her husband's job as a Russian teacher; taking weaving classes with Larry Edman at the University of Wisconsin-Madison; and meeting fiber artist Claire Zeisler on a field trip to Chicago. Carey discusses experimentation in her work and "stretching the limits of the technique" in Edman's class; receiving her undergraduate degree in textile arts in 1971; working with a computer-driven Dobby Loom; studying with Ruth Gao and Jim Peters at the University of Wisconsin-Milwaukee for her MFA in the early 1970s; teaching weaving at the University of Wisconsin-Madison, with a focus on technical and design skills; writing articles on the technical aspects of fiber art for "Fiber Arts," "Weaver's Journal," "Shuttle, Spindle, & Dye Pot," and other periodicals; exhibiting with the Wisconsin Designer Craftsmen in the 1970s; participating in the Quilt National Show in 1979; receiving a five-year development grant from the University of Wisconsin and quitting her teaching job; using "systematic" weaving methods in quilting; her involvement with galleries such as the Connell/Great American Gallery in Atlanta, Georgia; working with art consultants; the difference between private and corporate commissions; her use of bright colors and various fabrics; her use of tools and technology including an industrial sewing machine and computer programs such as Photoshop; her second marriage to Phil Carey in 1980 after her divorce to Marquess in the mid-1970s; and the "ephemeral" qualities in art. She considers herself a "collager," assembling fabrics and "embellishments." She also discusses her involvement with the Studio Art Quilt Associates and in the Art Quilt Network; and her piece, "Blue Ribbon," in the collection of the American Craft Museum. Carey recalls Camille Cook, Lia Cook, Martha Connell, Hillary Fletcher, Ted Hallman, Pat Mansfield, Ursula Ilse-Neuman, Yvonne Porcella, [Laurence] Rathsack, Victor Vasarely, and others.
Biographical / Historical:
Joyce Marquess Carey (1936- ) is a quilt maker from Madison, Wisconsin. Glenn Adamson is an art historian.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 51 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.
An interview of Tom McGlauchlin conducted 2006 October 13, by Joan Falconer Byrd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Archives of American Art, Washington, D.C.
McGlauchlin speaks of his childhood in Wisconsin; receiving a B.S. and M.S. in Art from the University of Wisconsin, Madison; studying pottery with Harvey Littleton and Toshiko Takaezu; attending the first workshop for glassblowing at the Toledo Museum of Art in Toledo, Ohio in 1962; building his glass studio; teaching experiences at Cornell College; experiences as the Director of the Glass Program at the University of Toledo/Toledo Museum of Art; the rivalry between Harvey Littleton and Dominick Labino; his relationship with galleries throughout the years including Heller Gallery, Habatat Galleries, Holsten Galleries, Vespermann Gallery, Pismo Gallery, and others; his participation in Glass Art Society and National Council on Education for the Ceramic Arts; his interest in textured surfaces; being influenced by Washington Color Field painters; the strong influence jazz has on his artwork; his involvement with the Art Tatum Jazz Heritage Festival in Toledo, Ohio; his plans to stop blowing glass in the near future; and his interest in working in pottery once again. McGlauchlin also recalls Clayton Bailey, Norm Schulman, Harvey Leafgreen, Otto Wittmann, Fritz Dreisbach, Russell Day, and others.
Biographical / Historical:
Tom McGlauchlin (1934-2011) is an glass artist and potter from Toledo, Ohio. Joan Falconer Byrd (1939- ) is a ceramics professor from Cullowhee, North Carolina.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 58 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.
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions 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:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
This series consists of a mixture of personal and professional correspondence. The are letters from friends and colleagues; places where Marjorie Kreilick taught, such as the University of Wisconsin, Madison; organizations she belonged to, such as the National Society of Mural Painters; and art institutions where she had exhibitions, such as the Minnesota Museum of Art. There are a few letters from Kreilick's late husband Allan McNab.
Arrangement:
The materials in this series are arranged in alphabetical order.
Collection 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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection 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.
Collection Citation:
Marjorie Kreilick papers, 1946-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Marjorie Kreilick.
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.
Collection 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.
Collection Citation:
Marjorie Kreilick papers, 1946-2018. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Marjorie Kreilick.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 26, Folder 8
Type:
Archival materials
Date:
2004 February 20-21
Scope and Contents:
Program held February 20, to Saturday, February 21, 2004, in the Carmichael Auditorium, National Museum of American History, Smithsonian Institution. The program commemorated the 50th anniversary of Brown v. Board of Education and was presented in conjunction with the exhibition "Separate Is Not Equal: Brown v. Board of Education." The Program in African American Culture cosponsored event with the Howard University School of Law and the National Association for the Advancement of Colored People (NAACP) Legal Defense Fund, Incorporated. The National Association for the Advancement of Colored People (NAACP) presented Race and Rights on Friday. Program included panel discussions, performances, and a video screening.
The Program in African American Culture holds an annual national observance of African American history month in February. The 2004 conference commemorated the 50th anniversary of the Brown v. Board of Education decision of 1954. The Brown decision legally ended the practice of segregated education in the United States. The program highlighted the lawyers that worked on the case and its legacy. It was emphasized throughout the program that much work remained to be done in fulfilling the promise of Brown. Several scholars convened to present papers about the case. There was a video screening of The Road to Brown, which highlighted the life of Charles Hamilton Houston, a civil rights lawyer and key figure in the case. Howard University School of Law hosted a town hall meeting in which there was an intergenerational discussion about Brown and the problems that still exist in education today.
Participants included:
February 20 Program
H. Patrick Swygert, president, Howard University
Kurt L. Schmoke, dean, School of Law, Howard University
Theodore M. Shaw, associate director-counsel, National Association for the Advance ment of Colored People (NAACP); Legal Defense and Educational Fund, Incorporated
Lorraine Miller, president, District of Columbia Branch, National Association for the Advancement of Colored People (NAACP)
Vincent G. Harding, professor, religion and social transformation, Iliff School of Theology, Denver, Colorado
February 21 Program: Panel Discussions
Pete Daniel, curator of southern and rural history, National Museum of American History (NMAH); professor of history, University of Maryland
Raymond Gavins, professor of history, Duke University
Linda Sheryl Greene, associate vice chancellor for faculty and staff programs, and Evjue-Bascom professor, law, University of Wisconsin-Madison
Reginald F. Hildebrand, associate professor with a joint appointment in history and Afro-American studies
Genna Rae McNeil, professor of history, University of North Carolina, Chapel Hill
Dianne Pinderhughes, professor of political science and Afro-American studies, University of Illinois, Urbana-Champaign
J. Clay Smith, professor of law, Howard University
Ronald Walters, distinguished leadership scholar and director, African American Leadership Institute, University of Maryland, College Park
Linda Williams, associate professor of government and politics, University of Maryland, College Park
Frank Wu, professor of law, Howard University; and adjunct professor of law, Columbia University
February 21 Program: Town Hall Meeting
Moderator
Charles J. Ogletree Jr., Climenko professor of law and prominent legal theorist,
Harvard University
Panelists
Carrie L. Billy, member of the Navajo nation, attorney from Arizona, and staff of the American Indian Higher Education Consortium (AIHEC)
Jaclyn A. Cole, president and co-founder, ROOTS
David Ari Collins, student, school of law, Howard University
Brumit B. De Laine, youngest child of the late Reverend Joseph Armstrong De Laine, who led the Briggs v. Elliot lawsuit from Clarendon County, South Carolina
Marisa J. Demeo, regional counsel of the Mexican American Legal Defense and Educational Fund's (MALDEF) DC office
Wade Henderson, executive director, Leadership Conference on Civil Rights; and counsel, Leadership Conference on Civil Rights Education Fund
Henry H. Jones, professor, school of law, Howard University School
Alana Murray, educator-activist, Montgomery County Public Schools, Maryland
John W. Stokes, educational consultant and adjunct professor, Morgan State and Baltimore City Community College
Craig A. Thompson, associate, law offices, Peter Angelos, Baltimore, Maryland
Michael R. Wenger, program consultant, Joint Center for Political and Economic Studies
Lia Wright-Tesconi, senior, School Without Walls Senior High School, George Washington University, Washington, DC
The Howard University Chapel Choir, diversified musical aggregation that provides the Andrew Rankin Memorial Chapel with the finest of sacred music on a consistent basis
Program number AC408.122.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
An interview of J. Fred Woell conducted 2001 June 6-2002 January 19, by Donna Gold, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home and studio, Deer Isle, Maine.
Woell speaks of his childhood and the impact of many moves; his affiliation with the Presbyterian Church; his experiences at Park College and the University of Illinois, Champagne-Urbana, studying economics and political science; and the influence of jewelry teacher Robert Von Neumann. Woell describes his experience in the masters program at the University of Wisconsin at Madison and refers again to his early childhood noting his participation in Boy Scouts and how it engendered his respect for the environment. He also mentions collecting baseball cards and rocks; the absence of a peer group; and his lack of confidence. He discusses his affinity for open space and unpopulated places; his enjoyment of camping, kayaking with his wife Pat; and notes that his views of nature mirror those of Taoists. He cites effective teaching techniques and comments on secondary school curricula. He discusses a cover story about his work in Metalsmith and his mother's response; his early art classes and interest in drawing cartoons; his tendency to be a clown; his participation in an American-Legion-sponsored event called Boys State; artists as purveyors of culture; and the premise for a workshop titled "Art by Accident." Woell speaks of influence of a John Cage performance at University of Illinois and subsequently contacting Cage; and teaching at Boston University, Haystack, and elsewhere. Woell also provides thoughtful commentary on the teaching style and learning process at Cranbrook Academy of Art. He discusses in some detail the strong influence of Vincent Campanella and Frank Gallo on his work; sharing a workbench with Bob von Neumann; recording and saving ideas; drawing preliminary sketches for jewelry; and his early sculptures of helmets and spoons. He describes and interprets his piece, "Come Alive, You're in the Pepsi Generation," and he comments on found-object pieces that were inspired by Scouting and cartooning. Woell explains how his environmental concerns inform his work and argues that art has a healing function. He remarks on meeting and marrying Kathleen, his first wife; his one-man show at Garth Clark Gallery; and how his work is part of an American, rather than international, tradition. Woell discusses his relationship with galleries including Helen Drutt in Philadelphia, Sybaris Gallery in Royal Oak, Michigan, Connell Gallery in Atlanta, and Mobilia in Cambridge, Massachusetts He points out the value of being included in publications such as, "Metalsmith," "Jewelers Circular Keystone," "Ornament," "American Craft," "Craft Horizon," and "Craft Report." He speaks about commissions for institutions and individuals and describes his current obligation to Haystack and his plans for his retirement, which includes exploring photography and making videos. Woell also describes his typical workday and his symptoms of Attention Deficit Disorder and dyslexia. He recalls Peter Voulkos, Jennifer Burton, Francis Sumner Merritt, Ronald Pearson, Georg Jensen, Audrey Handler, Jerry Brown, Jon Wilson, and others.
On January 19, 2002 Woell added an addendum to the interview which included remarks about September 11, 2001 acts of terrorism in the U.S.
Biographical / Historical:
J. Fred Woell (1934-) is a jeweler and metalsmith from Deer Isle, Maine. Donna Gold (1953-) is an art critic from Stockton Springs, Maine.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 11 digital wav files. Duration is 5 hr., 43 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.
The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.
Scope and Contents:
The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.
Biographical materials include certificates and awards, a diploma from the University of Wisconsin, curriculum vitae, memorials, and membership files. Correspondence is with family and friends, and colleagues Karl Priebe, Gertrude Abercrombie, Sylvia Fein, Dudley Huppler, Marshall Glasier, Robert Cozzolino, Theodore Wolff, Peter and Helga Gardetto, Andrew Balkin Editions, Warrington Colescott, Tandem Press, Harvey Littleton, and others. Letters from Walter Hamady are access restricted and housed separately.
There are interviews with Wilde from Harry Bouras' radio show Critics Choice, as well as an interview with Gertrude Abercrombie by Studs Terkel's for Terkel's WFMT radio show broadcast in Chicago.
Wilde discusses his artwork and other topics in 27 journals spanning seven decades. Additional writings by Wilde include term papers, his thesis titled "A Survey of the Development of Surrealism in Painting and Its Chief Innovations with Special Emphasis on the Life and Work of Max Ernst," transcriptions for gallery talks and speeches, notes, and various other writings. Writings about Wilde are by Theodore Wolff, Michael Seefeldt, and other authors. Wilde's personal business records include account books, appraisals, donation papers, inventory books and lists, and a draft of Wilde's last will and testament.
There are exhibition files for Leaders in Wisconsin Art (1982), John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), John Wilde: Recent Work (2003), With Friends: Six Magical Realists (2005), and others.
Printed materials include art auction catalogs, calendars, clippings, exhibition catalogs and announcements, invitations, magazines and journals, poetry booklets, press releases, programs, and an annual report. There are also two scrapbooks containing clippings and other printed materials compiled by Wilde. There are photographs of Wilde, his studio and estate, his close friends and fellow artists, and of works of art by Wilde and others. Few photographs are in digital format.
A series of nearly 90 artists collaboration books, many illustrated by Wilde, include Five Poems by Khatchik Minasian, Poems for Self Therepy by George Economou, Six Poems by J.D. Whitney, John's Apples by Reeve Lindbergh and 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and A Hamady Wilde Sampler/Salutations 1995. Other books are by Walter Hamady, Mary Laird Hamady, and others.
Six sketchbooks contain drawings and studies, as well as sketches of himself, his friends, and of his first wife Helen. Interspersed througout the sketchbooks are lists of artworks, accounting notes, and other notes and writings. Additional artwork includes files marked as preparatory drawings by Wilde, a large collage by Jerome Karidis titled Homage to the Queen Gertrude Abercrombie, and a few drawings by others.
Arrangement:
The collection is arranged as 13 series.
Missing Title
Series 1: Biographical Materials, 1939-2006 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1935-2011 (9.6 linear feet; Boxes 1-9, 21, 25-27)
Series 3: Interviews, circa 1959-circa 1975 (0.2 linear feet; Box 9)
Series 4: Journals, 1935-2006 (1.5 linear feet; Boxes 9-11)
Series 5: Writings and Notes, 1936-2006 (0.5 linear feet; Box 11)
Series 6: Personal Business Records, 1940-2006 (0.5 linear feet; Box 12)
Series 7: Exhibition Files, 1963-2010 (0.5 linear feet; Boxes 12-13)
Series 8: Printed Materials, 1940-2010 (0.5 linear feet; Boxes 13-14, 21)
Series 9: Scrapbooks, 1948-1963 (0.4 linear feet; Box 21)
Series 10: Photographic Materials, circa 1940-2000s (3.5 linear feet; Boxes 14-17, 21, 0.008 GB; ER01)
Series 11: Artists Collaboration Books, circa 1970-circa 2000 (4.0 linear feet; Box 17-20, 22)
Series 12: Sketchbooks, 1940-1985 (0.2 linear feet; Box 20, 22)
Series 13: Artwork, circa 1943-circa 2000 (0.3 linear feet; Box 20, OVs 23-24)
Biographical / Historical:
John Wilde (1919-2006) was a painter, educator, and draftsman who specialized in silver point and was associated with Magic Realism. He lived and worked in Wisconsin.
Wilde was born near Milwaukee, Wisconsin on December 12, 1919. He lived his whole life in Wisconsin except when he served in the U.S. Army during World War II. He attended the University of Wisconsin in Madison for his bachelor and master degrees in art and art history. While at university, Wilde, along with Marshall Glasier, Sylvia Fein, Karl Priebe, Dudley Huppler, and Gertrude Abercrombie, formed a close-knit circle of friends who shared similar ideas on art and painted in the style of Magic Realism. They often met at Priebe's studio in Milwaukee or Abercrombie's house in Chicago. Wilde also met his first wife and fellow art student, Helen Ashman, during this time. Wilde later married Shirley Grilley after Helen's death in 1966.
Wilde completed artwork for several books published by Perishable Press, a publishing company owned by Walter Hamady. He contributed illustrations to John's Apples by Reeve Lindbergh, 1985- The Twelve Months by Hamady, and Five Poems by Khatchik Minasian. Wilde also wrote and illustrated 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and co-authored A Hamady Sampler, Salutations 1995 with Hamady. In addition to his collaborations with Perishable Press, Wilde worked with Warrington Colescott, Harvey Littleton, Tandem Press, and Andrew Balkin Editions on various projects.
The Elvehjem Museum of Art, now the Chazen Museum of Art, located at the University of Wisconsin in Madison where Wilde taught art for 35 years, held several exhibitions of Wilde's work including John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), and With Friends: Six Magical Realists (2005).
The Tory Folliard Gallery in Milwaukee, Wisconsin began representing Wilde in 1993 and continued to represent Wilde's work after his death in Cooksville, Wisconsin on March 9, 2006.
Related Materials:
An interview with John Wilde conducted in 1979 by Michael Danoff for the Archives of American Art and the collection, Maurice W. Berger correspondence with John Wilde, 1952-1959, are also found in the Archives of American Art.
Separated Materials:
Also avaialbe at the Archives of American Art are materials lent for microfilming (reel 5661 and 4710) including letters from Walter Hamaday. Lent material was returned to the lender and is not described in the collection container inventory.
Portions of the loaned material on reel 4710 were subsequently donated, but a comparison of the film and papers was not completed.
Provenance:
The John Wilde papers were donated incrementally between 1975 and 2015 by John Wilde and his estate. Portions were previously lent for microfilming. Additional letters from Walter Hamady were lent for microfilming by John Wilde in December 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.
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.
An interview of Fritz Dreisbach conducted 2004 April 21-22, by Susanne Frantz, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Tucson, Arizona.
Dreisbach speaks of growing up in Ohio, in a family of educators and deciding at an early age to become a teacher; taking high school art; pursuing a BA in art and mathematics at Hiram College; getting his MAT and teaching high school math; attending the University of Iowa to study painting; the impact of taking a summer class in glassblowing; visiting Dominick Labino at his studio; researching colored glass and glass chemistry; becoming Harvey K. Littleton's teaching assistant at the University of Wisconsin, Madison; building a hot shop and teaching at the Toledo Museum of Art; teaching at Penland School of Crafts; creating the Glass Art Society with Mark Peiser after attending a NCECA conference; moving to Seattle to make glass colors for The Glass Eye; and working for Spectrum Glass Company. Dreisbach also speaks of the importance of community among glass artists; taking part in glass symposia in Frauenau, Germany; traveling around the country to teach workshops, known as his "Road Show"; making representational pop-style pieces as well as historical reference pieces; collaborating on a stained glass window with Gary Noffke; developing techniques for making goblets; working with Dante Marioni on a series of goblets; his commissioned pieces, including the Corning Pokal; engraving glass; his Mongo series; selling works through galleries; the influence of the Italian glass artists; teaching at Pilchuck Glass School; Dominick Labino's career and innovations in glass technology; being invited to give the Samuel R. Scholes lecture at the New York State College of Ceramics at Alfred University; serving twice as Glass Art Society president; inaccuracies in the history of American studio glass; taking part in GAS conferences at Fenton Glass Factory; the importance of the rise of the university-trained glass artist in the 1960s; going to Pilchuck for the first time; meeting international glass artists; attending symposia at Novy Bor, Czech Republic; and his plans for the future. Dreisbach also recalls Tom McGlauchlin, Clayton Bailey, Erwin Eisch, Dale Chihuly, Bill Brown, Marvin Lipofsky, Joel Myers, Billy Bernstein, Dan Dailey, Dudley Giberson, Harvey Leafgreen, Bill Boysen, Henry Halem, Peter Voulkos, Ruth Tamura, and others.
Biographical / Historical:
Fritz Dreisbach (1941- ) is a glass artist from Tucson, Arizona. Susanne Frantz is a writer and curator from Paradise Valley, Arizona.
General:
Originally recorded on 8 sound discs. Reformatted in 2010 as 21 digital wav files. Duration is 8 hr., 41 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.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
79 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 April 4-6
Scope and Contents:
An interview of Marjorie Schick conducted 2004 April 4-6, by Tacey A. Rosolowski, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Pittsburg, Kansas.
Schick speaks of her aesthetic goals; making "body sculpture" as opposed to jewelry; being raised by her mother, a teacher and artist; taking art classes in high school; studying art education at the University of Wisconsin, Madison; marrying James Schick; getting an MFA in jewelry at Indiana University; being mentored by Alma Eikerman; transitioning her works from metal to papier-mâché; working with alternative materials; making costume pieces for dancers; being represented by Galerie Ra in Amsterdam; studying metalwork while on sabbatical in London; the importance of change and experimentation in her work; making companion pieces; traveling to Europe and Mexico; creating "teapot jewelry"; and being part of the international jewelry community. Schick also speaks of how collectors and the art market react to her pieces; exhibiting in galleries; being a member of the Kansas Artist Craftsman Association; teaching; giving workshops; working on pieces while traveling; her autobiographical pieces; hiring student helpers; paying attention to craftsmanship; the challenges of being a craft artist and making "unwearable" jewelry; and her current project. Schick also recalls David Smith, Paul Smith, Harry Bertoia, Tom Joyce, and others.
Biographical / Historical:
Marjorie Schick (1941-2017) is a jeweler of Pittsburg, Kansas. Tacey A. Rosolowski is an art historian from Washington, D.C.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 53 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.
An interview of Robert Pfannebecker conducted 1991 May 21, by Helen Drutt English, (formerly Helen Williams Drutt) for the Archives of American Art.
Pfannebecker discusses his background; the development of his interest in crafts and collecting; his associations with students and teachers at the Cranbrook Academy of Art in the 1960s; later acquisitions as a result of his association with Dale Chihuly and his students at the Rhode Island School of Design, Wayne Higby and his students at Alfred University, and Eleanor Moty at the University of Wisconsin-Madison; other artists he has worked with over the years including Patti Warashina, Fred Bauer, Helen Bitar, Warren Seelig, and Gary Knodel; and exhibitions of his collection.
Biographical / Historical:
Robert Pfannebecker (1933- ) is a crafts collector and attorney from Philadelphia, Pa.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 25 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.
An interview of Mary Merkel-Hess conducted 2010 August 24 and 25, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Merkel-Hess' home, in Iowa City, Iowa.
Mary Merkel-Hess speaks of growing up in the rural Midwest; deciding pursue an artistic career; studying philosophy at Marquette University and earning an MFA the University of Wisconsin-Madison; becoming part of the art community in Iowa City; beginning her artistic career in metalsmithing and later transitioning into fiber mediums; using basketry and papermaking methods along with a variety of materials to devise original techniques; the role of light, balance, juxtaposition in her fiber sculptures; working from both natural and human impacted landscapes; traveling extensively through Europe and Japan; attending the Armory Show and SOFA Santa Fe; interacting with galleries such as Browngrotta Art Gallery and Olson-Larsen Galleries; completing public and residential commissions; supporting herself through the sale of her work. Mary Merkel-Hess also recalls Chungi Choo, Heikki Seppä, Tim Barrett, Alma Eikerman, Shereen LaPlantz, Jack Lenor Larsen, Tom Grotta, Marlene Olson, Wendy Haas, Katie Gingrass and others.
Biographical / Historical:
Mary Merkel-Hess (1949-) is fiber artist in Iowa City, Iowa. Mija Riedel (1958-) is an independent scholar and writer in San Francisco, California.
General:
Originally recorded on 3 memory cards. Reformatted in 2010 as 5 digital wav files. Duration is 4 hr.,11 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.
This series consists primarily of photographs from Halpern's field research in the former Yugoslavia. These include negatives from his research in Orašac during the 1950s as well as his research in Bosnia, Croatia, Macedonia, and Montenegro in 1961-1962. The photos depict town scenes, people at work in the fields and in town, houses, cemeteries, funerals, and weddings. ###As part of an arrangement with Halpern, the NAA developed his 1961-1962 negatives, and prints were sent to him for identification. He, in turn, returned to the NAA photocopies of the photos with his notes, which can be found in this series along with prints made by the NAA and the original negatives. Copies of the Labunište photos were donated by Halpern to the University of Massachusetts, Amherst and digitized on their website (http://www.library.umass.edu/spcoll/galleries/halpern.htm). ###This series also contains a set of slides of Laos from Joel M. Halpern's service as Field Service Officer in 1957. The University of Wisconsin, Madison holds copies of these and other slides from Halpern's travels to Laos, which they have digitized and made available at http://uwdc.library.wisc.edu/collections/SEAiT//Laos. ###Also present in this series are photos from the Balkans that he collected from colleagues and prints of Shinnecock Indians that he obtained from Red Thunder Cloud.
Collection Restrictions:
All except Series 9. Photographs is stored off-site. Advance notice must be given to view off-site materials.
Access to materials containing social security numbers; Halpern's students' graded materials; and manuscripts and grant applications sent to Halpern for review is restricted. Additional materials have also been restricted at Halpern's request.
Collection Rights:
Contact the repository for terms of use.
Please note that some of the materials in the collection are copies made by Joel M. Halpern; the originals are most likely deposited at other archives. For these materials, permission will need to be obtained from the repositories where the originals are held. See Related Collections for a list of repositories.
Includes articles about Davidovich, SoHo, garbage art, and art events.
Collection 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.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
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.
