The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.
Scope and Contents:
The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.
For each documentary, original, unedited footage shot by Freeman of artist interviews, studio footage, and interviews with subject experts is found, featuring curators, gallerists, collectors, and art historians speaking about the documentary subjects. In almost every case, significant original footage is found that was not used in the finished documentary and therefore unique to this collection, especially in the form of original interviews and studio footage.
Footage obtained from third-parties for use in the documentaries is found for several works including the Red Grooms, Luba, Crown Heights, and Romare Bearden documentaries. Notable among third-party material is a copy of Howardena Pindell's video performance work "Free, White, and 21" (1980). Also found are original footage and master material for "Pit Stop," a short fiction film by Robert Colescott, produced by Linda Freeman.
Arrangement:
The collection is arranged as 25 series, with most series representing the records of a single documentary production. Order of series is alphabetical by subject's last name, followed by titles for non-biographical works.
Media within series are typically grouped into three subseries: one for original, unedited footage and transcripts; one for production material, including media artifacts from intermediate stages of production and paper records of the production such as notes and drafts; and finally one for finished documentaries. Footage obtained from third-party sources is arranged with production material. Smaller series are arranged similarly but without formal subseries.
Audio and video tapes are housed separately from paper and digital records to facilitate access to both types of material. Also note that media are listed as items, which may be comprised of multiple tapes or single tapes, or multiple items on a single tape. As a result, physical folders may contain tapes from more than one item, and items can span multiple folders.
Series 1: Emma Amos: Action Lines (1996), 1991-2005 (1.3 linear feet; boxes 1-2, 28)
Series 2: Benny Andrews: The Visible Man (1996), 1991-2000 (1.2 linear feet; boxes 2, 28)
Series 3: Romare Bearden: Visual Jazz (1995), 1971-2000 (2.3 linear feet; boxes 3-4, 28, FC 34-36)
Series 4: Charles Burchfield's World (2004), 2004-2005 (0.3 linear feet; boxes 4, 28)
Series 5: Elizabeth Catlett: Sculpting the Truth (1998), 1998-2000 (1.3 linear feet; boxes 4-5, 28-29)
Series 6: Chuck Close: Close-up (2003), 2003-2006 (0.8 linear feet; boxes 6, 29)
Series 7: Robert Colescott: The One-Two Punch (1992), 1980-2005 (1.7 linear feet; boxes 6-8, 29, 33)
Series 8: "Pit Stop" by Robert Colescott (1995), 1995-1998 (1.1 linear feet; boxes 8, 29, FC 37-38)
Series 9: Jimmy and Max Ernst: Dada's Son (2005), 2005 (0.2 linear feet; boxes 8, 29)
Series 10: Red Grooms: Sculptopictoramatist (2008), 2008 (1.2 linear feet; boxes 9-10, 29)
Series 11: Jacob Lawrence: The Glory of Expression (1993), 1991-2007 (2.3 linear feet; boxes 10-11, 29, 32-33)
Series 12: Richard Mayhew: Spiritual Landscapes (2000), 1999-2000 (0.8 linear feet; boxes 11-12, 29)
Series 13: Howardena Pindell: Atomizing Art (1998), 1991-2005 (0.9 linear feet; boxes 12-13, 29)
Series 14: Horace Pippin: There Will Be Peace (1997), 1997-2000 (0.9 linear feet; boxes 13-14, 29-30)
Series 15: Faith Ringgold: The Last Story Quilt (1992), 1990-2007 (1.9 linear feet; boxes 14-15, 30, 33)
Series 16: Faith Ringgold Paints Crown Heights (1994), 1994-2005 (2.5 linear feet; boxes 15-17, 30, 33)
Series 17: Betye and Alison Saar: Conjure Women of the Arts (1994), 1990-2005 (2.3 linear feet; boxes 17-19, 30, 33)
Series 18: African Art, Women, History: The Luba People of Central Africa (1998), 1990-2000 (1.0 linear feet; boxes 19-20, 30)
Series 19: The Creative Process: Artists At Work (2011), 2006-2011 (0.3 linear feet; boxes 20, 30)
Series 20: I Can Fly Series, 1999-2011 (3.8 linear feet; boxes 20-23, 31)
Series 21: Mixed Media Masters (2008), 1991-2008 (1.0 linear feet; boxes 24, 31)
Series 22: School's Out: Self-Taught Artists (2001), 1995-2001 (1.1 linear feet; boxes 24-25, 31)
Series 23: Women in Their Studios: Jennifer Bartlett and Jackie Winsor (2006), 2005-2006 (0.6 linear feet; boxes 25-26, 31)
Series 24: Other Projects, 1988-2015 (1.6 linear feet; boxes 26-27, 31-32)
Series 25: L and S Video Records, 1990-2008 (0.5 linear feet; boxes 27, 32)
Biographical / Historical:
Linda Freeman(1941- ) is a multimedia artist and filmmaker in New York, New York. Freeman manages L and S Video (established 1987), a company that creates, produces, and distributes documentaries about American Artists.
In a lecture by Freeman at the Philadelphia Museum of Art in October 2000, she describes how she received training in filmmaking at New York University, and set out to create documentaries about contemporary artists who were both widely recognized as important artists and had not yet been the subjects of documentaries. Her first subject was Faith Ringgold, who she approached in 1990 for what would become Faith Ringgold: The Last Story Quilt. Freeman went on to produce 28 documentaries with director and writer David Irving featuring primarily living African American artists, but also women artists, self-taught artists, and mixed-media artists. The documentaries are based on extended interviews with the artists, studio footage of the artists working, and interviews with notable curators, dealers, critics, art historians, and other artists with expertise in the work and career of the subject at hand. Freeman included herself in the documentary The Creative Process: Artists at Work along with footage of other artists from her previous productions that had not been used in her finished works to date.
As an artist, Freeman has shown work in multiple traveling group exhibitions including "Women Call for Peace: Global Vistas," "Our Ancestors Quilt Project," "Women Only! In Their Studios," "Voices in Cloth: Story Quilts," and has had solo exhibitions at the Henry Gallery at Penn State Great Valley and SOHO20 gallery.
Provenance:
The collection was donated in 2015 by Linda Freeman, L and S Video.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Multimedia artists -- New York (State) -- New York Search this
Filmmakers -- New York (State) -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that she 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:
Linda Freeman papers, 1971-2015. Archives of American Art, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
7 Video recordings
11 Sound recordings
Type:
Archival materials
Video recordings
Sound recordings
Home movies
Date:
circa 1990-2000
Scope and Contents:
The Regina Vaughn Family home movies consist of family gatherings, weddings, and speeches related to the genealogy of the Vaughn family.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
4 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1995
Scope and Contents:
The Kelly family home movies predominantly feature footage of family reunions. Additionally, there is footage of gatherings of family and friends, holidays, and birthday parties.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
4 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1995
Scope and Contents:
The Colon Family Home Videos consist of gatherings of family and friends, holiday celibrations, vacations, and childbirth.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
2 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1995
Scope and Contents:
The Walters Family Home Videos consist of documentation of several family reunions in the 1990s.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
6 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1995
Scope and Contents:
The Holman Family Videos consist of gatherings of family and friends, vacations, commencement ceremonies, musical recitals, wedding anniversaries, and church services.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
National Museum of African American History and Culture (U.S.) Search this
Extent:
4 Video recordings
Type:
Archival materials
Video recordings
Home movies
Date:
circa 1995
Scope and Contents:
The Stephanie Trice Family Home Movies consist of casual gatherings of family and friends, documentation of a pee wee football game, and documentation of the construction of a log cabin in an unidentified location.
Collection Restrictions:
Collection is available online for open research.
Collection Rights:
The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.
Copyright for all works are retained by the creators of the original analog materials.
The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.
Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.
Sponsor:
This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
1 Videocassettes (Hi8) (This was found in the camcorder from the donor)
Container:
Box 31
Type:
Archival materials
Videocassettes (vhs)
Videocassettes (hi8)
Date:
undated
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual records or born digital records 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:
Jimmy Hedges papers and Rising Fawn Folk Art Gallery records, 1969-2016, bulk 1991-2013. Archives of American Art, Smithsonian Institution.
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and born-digital material primarily reflect Marshall's work outside his role at the Whitney Museum. The exhibition and research files make up the bulk of the collection and document his independent curatorial and writing projects on artists Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Jack Pierson, and Ed Ruscha, as well as his role in building the Lever House Art Collection. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Scope and Contents:
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and 26.07 GB and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and digital material predominantly reflect Marshall's work outside his role at the Whitney Museum. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Thirteen interviews with artists are in the form of transcripts and sound recordings. Interviews are with many artists that Marshall had organized exhibitions for, including Louise Bourgeois, Robert Mapplethorpe, Ed Ruscha, and many featured in the exhibition New Image Painting at the Whitney in 1978.
Exhibition and research files may contain correspondence with artists, galleries, and museums; writings and notes; printed and research material; press packages; photographic material; and administrative documentation related to exhibition logistics, such as floors plans, items lists, consignment records, and shipping receipts. The most robust files and groups of files relate to the artists that Marshall worked with repeatedly over the course of his career, including Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Joan Mitchell, Georgia O'Keeffe, Jack Pierson, and Ed Ruscha. Files relating to the Lever House Art Collection are also found here. The series contains sound and video recordings, as well as digital records containing broadcasts, documentaries, exhibition related material, writings, photographic material, and promotional material about artists from galleries.
Client files include correspondence, invoices, photographic material, floor plans, digital records, and other documentation related to Marshall's business as an independent art consultant.
Other professional files consists of business cards, Museum of Contemporary Art San Diego (MCASD) Board of Trustee's files, and photographic material Marshall accumulated as art editor of the Paris Review.
Printed and digital material consists of books, exhibition announcements, catalogs, press packages, posters, and other material. Material relates to artists and movements Marshall was interested in.
Photographic material is of artworks and is largely unsorted and not identified with any specific project. Formats include black and white photographs, slides, digital photographs, and transparencies.
Arrangement:
The collection is arranged as seven series
Missing Title
Series 1: Interviews, 1972-2009 (0.4 linear feet; Box 1, 0.173 GB; ER01)
Series 2: Exhibition and Research Files, circa 1970-2014 (11.5 linear feet; Box 1-12, OV 17-19, 23.40 GB; ER02-ER49)
Series 3: Client Files, 1998-2014 (1.5 linear feet; Box 12-14, 0.077 GB; ER50-ER51)
Series 4: Other Professional Files, circa 1980-2014 (0.9 linear feet; Box 14)
Series 5: Printed Material, 1969-2014 (0.5 linear feet; Box 15, OV 20, 2.27 GB; ER52)
Series 6: Photographic Material, 1990s-2000s (0.9 linear feet; Box 15-16, 0.145 GB; ER53)
Series 7: Unidentified Electronic Records, circa 2005 (1 folder; 1 folder)
Biographical / Historical:
Richard D. Marshall (1947-2014) was a New York-based curator and art consultant. Born in Los Angeles, Marshall attended the University of California, Irvine, and in 1973 moved to New York to attend the Independent Study Program at the Whitney Museum. He then became a curator at the Whitney from 1974-1993, organizing many biennials and solo exhibitions. While at the Whitney, Marshall also worked as art editor of the Paris Review (1975-1990), and organized exhibitions at other institutions of artists including Louise Bourgeois, Alexander Calder, and Robert Mapplethorpe. In 2003, he became curator of The Lever House Art Collection in New York, and worked with collectors Aby Rosen and Alberto Mugrabi to commission works for the lobby of the building by Tom Sachs, Urs Fischer, Liza Lou, Paula Hayes, and others. Marshall has also published monographs on Ed Ruscha, Jack Pierson, Alex Katz, Georgie O'Keeffe, Joan Mitchell, and Kenny Scharf.
Provenance:
Donated in 2015 by the Richard D. Marshall Estate, via William T. Georgis, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art consultants -- New York -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation. Funding for the digitization of the collection was provided by the Smithsonian American Women's History Initiative.
Dr. Patricia Bath was born in 1942 in New York. She conceived of the Laserphaco Probe in 1981 and patented it in 1988 (US Patent # 4,744,360 for an "Apparatus for ablating and removing cataract lenses"). The collection contains original and reference video footage of Dr. Bath's Innovative Lives Presentation documenting her work in the field of ophthalmology and her work creating and patenting the LaserPhaco Probe, an instrument to remove cataracts. Also included is an interview with Dr. Bath at her home in Los Angeles and an interview with her daughter, Eraka Bath and supplemental documentation assembled by Dr. Bath. The documentation includes photocopies of articles, patents, biographical sketch material, and selected publications and references to related to lasers and surgery of Dr. Bath
Scope and Contents:
This collection consists of 8.5 hours of original (BetaCam SP) video recordings and reference (viewing) copies (VHS) documenting the life and career of Dr. Patricia Bath. The recordings include a presentation by Dr. Bath for the Lemelson Center's Innovative Lives Program and interviews at her home and laboratory in Los Angeles. The collection also includes an interview with Dr. Bath's daughter, Eraka Bath, and copies of footage from other sources about Dr. Bath's work. Additionally, there is supplemental documentation assembled by Dr. Bath. The documentation includes photocopies of articles, patents, biographical sketch material, and selected publications and references to related to lasers and surgery of Dr. Bath.
Arrangement:
This collection is arranged into three series.
Series 1, Original Videos, 2000
Series 2, Reference Videos, 2000
Series 3, Supplemental Documentation
Biographical / Historical:
Dr. Patricia Bath (1942-) was born in New York. She attended Charles Evans Hughes High School, Hunter College (B.A. 1964), and Howard University College of Medicine (M.D. 1968). Bath held a fellowship in ophthalmology at Columbia University (1969-1970) and an internship at New York University (1970-1973) where she was the first African American resident in ophthalmology. Dr. Bath later joined the faculty of UCLA and Charles R. Drew University in surgery and ophthalmology and later the Department of Ophthalmology at UCLA's Jules Stein Eye Institute. In 1976, Dr. Bath and other colleagues formed the American Institute for the Prevention of Blindness (AIPB). Dr. Bath conceived of the Laserphaco, an instrument to remove cataracts in 1981. She received US patent #4,744,360 for an "Apparatus for ablating and removing cataract lenses" on May 17, 1988. Later patents include a method and apparatus for ablating and removing cataract lenses; laser apparatus for surgery of cataractous lenses; and pulsed ultrasound method for fragmenting/emulsifying and removing cataractous lenses. Dr. Bath retired from the UCLA Medical Center in 1993 to work in telemedicine, the use of electronic communication to provide medical services to remote areas where healthcare is limited.
The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation was founded in 1995 at the Smithsonian Institution's National Museum of American History through a generous gift from the Lemelson Foundation. The Center's mission is: to document, interpret, and disseminate information about invention and innovation; to encourage inventive creativity in young people; and to foster an appreciation for the central role invention and innovation play in the history of the United States. The Innovative Lives series brings together Museum visitors and especially, school age children, and American inventors to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product. This collection was recorded by the Innovative Lives Program of the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.
Related Materials:
An anatomical eye (accession # 2000.0038.01) was donated to the Division of Medicine and Science in 2000 by Dr. Patricia Bath.
Provenance:
This collection was recorded by the Innovative Lives Program of The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation on March 1, 2000. The Innovative Lives series brings Museum visitors and American inventors together to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product.
Restrictions:
Collection is open for research but the original videos are 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.
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.
Seminole Adventures series produced by Seminole Tribal Museum Authority and Ah-Tha-Thi-Ki Museum.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Provenance:
Received from the American Indian Program, Department of Anthropology, National Museum of Natural History
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Rights:
Contact the repository for terms of use.
Genre/Form:
Video recordings
Citation:
Seminole Adventures videos, Human Studies Film Archives, Smithsonian Institution
Audio and video documentation of Anthropology's Repatriation "Southern Cheyenne Sundance Documentation Project."
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Provenance:
Received from Office of Repatriation, Department of Anthropology, National Museum of Natural History, in 2000.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Rights:
Contact the repository for terms of use.
Topic:
Anthropological museums and collections Search this
Genre/Form:
Video recordings
Citation:
Videos from the Southern Cheyenne Sundance Documentation Project, Human Studies Film Archives, Smithsonian Institution
Use of original papers requires an appointment. Use of archival audiovisual recordings and electronic records 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:
Thread Waxing Space records, 1980s-2001, bulk 1991-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund
