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Porcelain for Emperors

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
YouTube Videos
Uploaded:
2012-12-21T14:30:51.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
See more by:
FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_e3ckTvhBAg4

Valor in Black and White: War Stories of Horace Poolaw

Creator:
National Museum of the American Indian  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2016-11-17T15:43:57.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_Npi_Nrw-B9o

Society for Visual Anthropology records, 1968-2013

Creator:
Society for Visual Anthropology (U.S.)  Search this
Biella, Peter  Search this
Chalfen, Richard  Search this
Collier, Malcolm 1948-  Search this
El Guindi, Fadwa  Search this
Ruby, Jay  Search this
Scherer, Joanna Cohan  Search this
Zeller, Anne 1947-  Search this
American Anthropological Association  Search this
Physical description:
5 linear feet (12 boxes) and 1 oversized box, 1 map folder, and 1 digital storage media
Type:
Mixed archival materials
Collection descriptions
Date:
1968
1968-2013
Topic:
Visual anthropology  Search this
Professional associations  Search this
Restrictions & Rights:
No restrictions on access
Contact the repository for terms of use
Data Source:
National Anthropological Archives
EDAN-URL:
edanmdm:siris_arc_363019

Correspondence 2

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 12 (Series 6)
Type:
Archival materials
Date:
1981, 1984-1985
Scope and Contents note:
File consists of correspondence, meeting memoranda, reports, proposals, handwritten notes, draft program and budget FY 1986-1987, holiday card from Herschelle Challenor. Materials relate to: medium-term plan, commission on visual anthropology, U.S. National Commission activities. Correspondents include: John E. Fobes, Elliot Abrams, James McCargar, Allan Jabbour, Ralph Rinzler, James D. Phillips, Asen Balicki, Lacy A. Wright, Jr.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_06_012_023
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 6: Meetings and Organizations / 6.4: UNESCO
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-rinz-ref3578

International Congress of Anthropological and Ethnological Sciences 3

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 4 (Series 6)
Type:
Archival materials
Date:
1973, 1976
undated
Scope and Contents note:
File consists of annotated conference program, correspondence with Sol Tax regarding World Anthropology publication project, resolution on visual anthropology, conference papers by Margaret Mead, Roger Sandall, Timothy Asch, E. Richard Sorenson and Allison Jablonko, Gerald Temaner and Gordon Quinn, Paul Hockings, Jean-Dominique Lajoux, J. Mavalawa, Asen Balicki, correspondence from N. Moise Lecourt regarding Mozes' Film Project, flier for Tamu-Tamu by Gian Carlo Menotti.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_06_004_026
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 6: Meetings and Organizations / 6.1: General Meetings and Organizations
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-rinz-ref3079

Temple University Anthropological and Documentary Film Conference 1

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 7 (Series 6)
Type:
Archival materials
Date:
undated
1972
Scope and Contents note:
File consists of handwritten notes, preliminary program, conference program and abstracts, diagrams of film and video equipment, charts, proposal for the founding of a society for visual anthropology, program of the American Anthropological Association in ethnographic film.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_06_007_021
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 6: Meetings and Organizations / 6.1: General Meetings and Organizations
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-rinz-ref3285

Oral history interview with Robert Mangold, 2017 November 16

Interviewee:
Mangold, Robert, 1937-  Search this
Mangold, Robert, 1937-  Search this
Interviewer:
Lyon, Christopher, 1949-  Search this
Subject:
Albers, Josef  Search this
Chaet, Bernard  Search this
Hesse, Eva  Search this
Katz, Alex  Search this
LeWitt, Sol  Search this
Lippard, Lucy R.  Search this
Marden, Brice  Search this
Nice, Don  Search this
Welliver, Neil  Search this
Wyman, Robert  Search this
Cleveland Institute of Art  Search this
Mnuchin Gallery  Search this
Pace Gallery  Search this
Society for Visual Anthropology (U.S.)  Search this
Yale/Norfolk Summer School of Art  Search this
Type:
Interviews
Sound recordings
Place:
Italy -- description and travel
New York (N.Y.) -- Description and travel
Topic:
Abstract expressionism  Search this
Art -- Technique  Search this
Minimal art  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Pop art  Search this
Record number:
(DSI-AAA_CollID)17524
(DSI-AAA_SIRISBib)391130
AAA_collcode_mangol17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_391130
Online Media:

History of Smithsonian Folklife Oral History Interviews

Extent:
0.5 cu. ft. (2 half document boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Transcripts
Date:
2005-2009
Introduction:
The Smithsonian Institution Archives (SIA) began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives' record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program staff conduct interviews with current and retired Smithsonian staff and others who have made significant contributions to the Institution. There are also reminiscences and interviews recorded by researchers or students on topics related to the history of the Smithsonian or the holdings of the Smithsonian Institution Archives.

Smithsonian Institution predoctoral fellow, William S. Walker, of Brandeis University, conducted a series of oral history interviews on the history of folklife presentation at the Smithsonian, as part of his dissertation research.
Descriptive Entry:
The History of Folklife at the Smithsonian Oral History Interviews consist of 13.2 hours of analog and digital audio interviews and 369 pages of transcript.
Historical Note:
Folklife studies are carried on in several organizational units of the Smithsonian Institution: the Department of Anthropology at the National Museum of Natural History (NMNH), the Festival of American Folklife (FAF), and the National Museum of American History (NMAH), and the National Museum of the American Indian (NMAI). Dr. Walker began his project on the study and exhibition of folklife at the Smithsonian, focusing on the Folklife Festival and then expanded his interview scope to include other Smithsonian cultural scholars and solicit their views on the FAF and cultural studies, exhibition and public programming at the Smithsonian.

JoAllyn Archambault (1942- ), Director of the American Indian Program at the National Museum of Natural History, is an enrolled member of the Standing Rock Sioux tribe. She earned her doctorate at the University of California in Berkeley in 1984. She was a faculty member of the Department of Anthropology, University of Wisconsin, Milwaukie, Wisconsin (1983-86), and the Director of Ethnic Studies, California College of Arts and Crafts, Oakland, California (1978-83). As curator of Anthropology at the NMNH since 1986, she organized various exhibitions, including Plains Indian Arts: Change and Continuity, 100 Years of Plains Indian Painting, Indian Baskets and Their Makers, and Seminole Interpretations.

Spencer Crew (1949- ) received the A.B. in history from Brown University in 1972 and holds a master's degree (1973) and a doctorate from Rutgers University (1979). He was assistant professor of African-American and American History at the University of Maryland-Baltimore County, 1978-1981; historian, 1981-1987, curator 1987-1989, Department of Social and Cultural History, chair, 1989-1991, deputy director, 1991-1992, acting director, 1992-1994, director, 1994-2001 of NMAH. He then served as historical consultant to the National Civil Rights Museum, in Memphis, Tennessee, from 1987-1991; consultant to the Civil Rights Institute, in Birmingham, Alabama, 1991-1994; and executive director and chief executive officer for the National Underground Railroad Freedom Center from 2001-2008; and was appointed Clarence Robinson Professor at George Mason University in 2008. At the Smithsonian, Crew curated several exhibitions, most notably Field to Factory: Afro-American Migration, 1915-1940

William W. Fitzhugh (1943- ), an anthropologist, specialized in circumpolar archaeology, ethnology and environmental studies. He received his B.A. from Dartmouth College in 1964. After two years in the U.S. Navy, he attended Harvard University where he received his PhD in anthropology in 1970. He joined the Anthropology Department at NMNH in 1970. As director of the Arctic Studies Center and Curator in the Department of Anthropology, NMNH, he has spent more than thirty years studying and publishing on arctic peoples and cultures in northern Canada, Alaska, Siberia and Scandinavia. His archaeological and environmental research has focused upon the prehistory and paleoecology of northeastern North America, and broader aspects of his research feature the evolution of northern maritime adaptations, circumpolar culture contacts, cross-cultural studies and acculturation processes in the North, especially concerning Native-European contacts. He curated four international exhibitions, Inua: Spirit World of the Bering Sea Eskimos; Crossroads of Continents: Native Cultures of Siberia and Alaska; Ainu: Spirit of a Northern People; and Vikings: The North Atlantic Saga.

Rayna D. Green (1942- ) curator and Director of the American Indian Program at the NMAH, received the B.A. in 1963 and M.A. in 1966 from Southern Methodist University, served in the Peace Corps as a history instructor and library director for the Teacher Training School in Harar, Ethiopia, and the Ph. D. in Folklore and American Studies from Indiana University in 1973. A member of the Cherokee tribe, she administered National Native American Science Resource Center, Dartmouth College, before joining the staff of the Smithsonian in 1984. She has written extensively of Native American culture and foodways. Her research and exhibit projects include a documentary narrative with Julia Child, In the Kitchen with Julia, following on her co-curation of the long-running popular exhibition Bon App tit: Julia Child's Kitchen at the Smithsonian.

Thomas W. Kavanagh (1949- ), an anthropologist, received the B.A. from the University of New Mexico in 1971, the M.A. from The George Washington University in 1980, and the Ph.D. from University of New Mexico in 1986. He began his career at Indiana University and then joined the staff of the Smithsonian Institution. A scholar of Comanche Indians of Oklahoma, he has published extensively on the Comanches and was appointed Consulting Anthropologist for the Comanche Nation. In the 2000s, he served as director of the Seton Hall University Museum. His publications include Comanche Ethnography (2008), Comanche Political History (1996), North American Indian Portraits: Photographs from the Wanamaker Expeditions (1996), and "Comanche" in the Handbook of North American Indians, Volume 13 (Plains), Smithsonian Institution (2001).

Roger G. Kennedy (1926-2011) graduated from Yale University in 1949 and the University of Minnesota Law School in 1952, and pursued a diverse career in banking, television production, historical writing, foundation management, and museum administration. He was appointed Director of the National Museum of History and Technology (NMHT) in 1979, renamed it the National Museum of American History, and left in 1992 to become Director of the National Park Service. He focused on social and cultural history, and oversaw controversial exhibits including A More Perfect Union: Japanese Americans & the American Constitution and Field to Factory: Afro-American Migration, 1915-1940.

Keith E. Melder (1932- ) studied American history at Williams College (B.A. 1954) and Yale University (M.A. 1957; PhD, 1964). He was an intern at the NMHT in 1958 and returned in 1961 as Curator of Political History until his retirement in 1996. His research focused on America political movements, especially the Women's Movement and the Civil Rights era. Melder was also interviewed for two other Smithsonian Institution Archives projects, Record Unit 9603, African American Exhibits at the Smithsonian, and Record Unit 9620, the American Association of Museums Centennial Honorees Oral History Project, as well as for the Ruth Ann Overbeck Capitol Hill History Project of the Capitol Hill Historical Society.

Clydia Dotson Nahwooksy (1933-2009), a Cherokee, and her husband Reaves, a Comanche Nation member, worked most of their lives to preserve American Indian tribal culture. Originally from Oklahoma, they spent 20 years in Washington, D.C., as cultural activists. In the 1970s, Clydia was director of the Indian Awareness Program for the Smithsonian Institution's Festival of American Folklife. In 1986 both Nahwooskys entered the seminary, and the Rev. Clydia Nahwooksy was an active pastor and a member of the Board of National Ministries and the American Baptist Churches USA General Board.

Ethel Raim (1936- ), Artistic Director of New York's Center for Traditional Music and Dance (CTMD), researched ethnic music and worked closely with community-based traditional for almost five decades. Raim also had a distinguished career as a performer, recording artist, music editor, and singing teacher. In 1963 she co-founded and was musical director of the Pennywhistlers, who were among the first to bring traditional Balkan and Russian Jewish singing traditions to the folk music world. Raim served as music editor of Sing Out! magazine from 1965 to 1975. In the late 1960s and early 1970s, she developed ethnic programs for the Newport Folklife Festival and the Smithsonian's Festival of American Folklife. In 1975 Raim joined Martin Koenig as Co-Director of the Balkan Folk Arts Center, which developed into the CTMD in New York City.

Joanna Cohan Scherer (1942- ) received the B.A. from Syracuse University in 1963 and the M.A. from Hunter College, City University of New York in 1968. A specialist in visual anthropology especially of Native Americans, historical photography, women and photography, North American Indian photography, and cultural anthropology. She joined the staff of the Anthropology Archives of the National Museum of Natural History in 1966 and in 1975 advanced to served as anthropologist and illustrations editor for the Smithsonian's multivolume series Handbook of North American Indians.

Robert D. Sullivan (1949- ) was educated at St. John Fisher College with a B.S. in anthropology in 1970, the M.A. in education management from the University of Rochester in 1979, and pursued the Ph.D. in human studies (ABD) at The George Washington University until 2006. He served as Chief of Museum Education at Rochester Museum and Science Center from 1970 to 1980, Director at the New York State Museum from 1980 to 1990, and Associate Director for exhibitions at National Museum of Natural History from 1990 to 2007.

Peter Corbett Welsh (1926-2010) was a curator and historian at the Museum of History and Technology, now known as the National Museum of American History. He was born on August 28, 1926, in Washington, D.C. He received his B.A. from Mount Union College in Alliance, Ohio, in 1950 and completed a post-graduate year of study at the University of Virginia. He received his M.A. from the University of Delaware where he was the first recipient of the Hagley Fellowship in 1956. Welsh served in the United States Army, 1951-1954. Prior to coming to the Smithsonian Institution, he was Research Assistant and Fellowship Coordinator at the Eleutherian-Mills Hagley Foundation, 1956-1959. Welsh was Associate Curator in the Smithsonian's Department of Civil History, 1959-1969, and served as editor of the Smithsonian's Journal of History in 1968. As Curator he played a major role in the development of the Growth of the United States hall for the opening of the Museum of History and Technology which depicted American civilization from the time of discovery through the mid-twentieth century. Welsh was Assistant Director General of Museums, 1969-1970, and assisted with the implementation of the National Museum Act through seminars on improving exhibit effectiveness. He also served as Director of the Office of Museum Programs, 1970-1971. After Welsh's tenure at the Smithsonian, he became the Director of both the New York State Historical Association and the Cooperstown Graduate Program, 1971-1974. He then served as Director of Special Projects at the New York State Museum in Albany, 1975-1976; Director of the Bureau of Museums for the Pennsylvania Historical and Museum Commission; President of The Welsh Group, 1984-1986; and Curator (1986-1988) and Senior Historian (1988-1989) of the Adirondack Museum in Blue Mountain Lake, New York. In 1989, he became a full-time, independent museum consultant and lecturer, and was a visiting professor of the State University of New York (SUNY) in 1992. Welsh was a contributor to numerous scholarly journals. He authored Tanning in the United States to 1850 (1964), American Folk Art: The Art of the People (1967), Track and Road: The American Trotting Horse, 1820-1900 (1968), The Art of the Enterprise: A Pennsylvania Tradition (1983), and Jacks, Jobbers and Kings: Logging the Adirondacks (1994).
Rights:
Restricted. Contact SIHistory@si.edu to request permission.
Topic:
Interviews  Search this
Museum exhibits  Search this
Folklife studies  Search this
Museum curators  Search this
Oral history  Search this
Genre/Form:
Audiotapes
Transcripts
Citation:
Smithsonian Institution Archives, Record Unit 9619, History of Smithsonian Folklife Oral History Interviews
Identifier:
Record Unit 9619
See more items in:
History of Smithsonian Folklife Oral History Interviews
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru9619

James Faris papers

Creator:
Faris, James C.  Search this
Extent:
7.67 Linear feet
Type:
Collection descriptions
Archival materials
Field notes
Photographs
Sound recordings
Place:
Nuba Mountains (Sudan)
Date:
1960-2014, undated
Summary:
James Faris (1936 – present) is an American cultural anthropologist and epistemologist who received his PhD from Cambridge University in 1966. He conducted fieldwork in the fishing settlement of Cat Harbour, Newfoundland, among the Nuba of Southeastern Kordofan in the Sudan, and among the Navajo in the American Southwest. His research specializations include cognitive anthropology, art and aesthetics, ritual, social organization and reproduction, anthropological linguistics, and visual anthropology and critical theory and representation.

The James Faris Papers, 1960-2014, primarily document his fieldwork with the Nuba peoples of Southeastern Sudan. His papers also include materials related to representation of the Nuba peoples and various controversies in visual anthropology and documentary film that related to Leni Riefenstahl and her filmmaking among the Nuba. During the 1960s Faris was drawn into activism against the Vietnam War while at the University of Connecticut and his papers contain ephemeral materials on radical anthropology and racism from that period. The collection consists of field notes, correspondence, photographs, sound recordings, films (including scripts and transcriptions), videos, book and papers drafts, and news and magazine clippings.
Scope and Contents:
The James Faris papers, 1960-2014, undated, primarily document his field research with the Nuba people in South Sudan. It also includes materials related to Leni Riefenstahl and her work with the Nuba, material regarding racism and activism at the University of Connecticut, and writings and notes. The collection consists of field notes, sound recordings, films, videos, film transcriptions and scripts, correspondence, photographs, book and paper drafts, and clippings.

Faris worked with the Nuba people in Sudan from 1966-1969 and again in the 1970s. His materials document their body art and cultural practices before the Nuba were converted to Islam in the 1980s. Over 800 photographic slides record their agriculture, rituals, dance, and personal art in addition to Faris' extensive field notes.
Arrangement:
The James Faris papers are arranged in 4 series: Series 1. Sudan, 1966-2008, undated; Series 2. Materials pertaining to Leni Riefenstahl, 1971-2008; Series 3. University of Connecticut, 1969-1992, undated; Series 4. Writings, conference files, and other materials, 1960-2014, undated.
Biographical note:
Chronology

1936 November 1 -- Born in Durango, Colorado

1958 -- B.S. in Chemistry from the University of New Mexico

1959-1960 -- Archaeological field research, New Mexico (6 months)

1962-1964, 1972 -- Ethnological field research, Newfoundland (17 months)

1965 -- Lecturer, University of Maryland (overseas)

1966 -- Ph.D. in Social Anthropology, University of Cambridge

1966 -- Assistant Professor, McGill University

1966-1969 -- Lecturer, University of Khartoum, Khartoum, Sudan

1966-1969, 1977, 1979, 1980 -- Ethnological field research, Kordofan , Sudan (20 months)

1969-1978 -- Associate Professor, University of Connecticut

1978-1979 -- Visiting Professor, University of Khartoum, Khartoum, Sudan

1978-1995 -- Professor, University of Connecticut

1983-1988 -- Ethnological field research, New Mexico/Arizona (18 months)

1990-1993 -- Ethnological field research, Greater Southwest (8 months)

1995 July 1-Present -- Emeritus Professor, University of Connecticut

James Chester Faris is an ethnographic anthropologist whose research specializations include social anthropology, social organization and production, cognitive studies, aesthetics and art, population, materialist perspectives, anthropological critique, textuality, anthropological linguistics, and photographic analysis and critique. He completed field research in Newfoundland, Sudan, New Mexico, Arizona, and the Greater Southwest.

Faris was trained at Cambridge as an anthropologist and spent the majority of his academic career teaching at the University of Connecticut. He also spent time as a lecturer and visiting professor at the University of Khartoum in Sudan. In this time he conducted his field research on the Southeast Nuba of Southern Kordofan Province.

Faris became an Emeritus Professor at the University of Connecticut in 1995 and currently lives in New Mexico.
Separated Materials:
Film, video, and related sound materials have been transferred to the Human Studies Film Archives (HSFA/NAFC), accession number 2017-004, but are described in this finding aid in Series 1.5 (Films and related materials).
Provenance:
These papers were donated to the National Anthropological Archives by James Faris in 2016.
Restrictions:
The James Faris papers are open for research.

Access to the James Faris papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Nuba (African people)  Search this
Documentary films  Search this
Genre/Form:
Field notes
Photographs
Sound recordings
Citation:
James Faris papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2016-36
See more items in:
James Faris papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2016-36
Online Media:

Oral history interview with Robert Mangold

Interviewee:
Mangold, Robert, 1937-  Search this
Interviewer:
Lyon, Christopher  Search this
Names:
Cleveland Institute of Art -- Students  Search this
Mnuchin Gallery  Search this
Pace Gallery  Search this
Society for Visual Anthropology (U.S.) -- Faculty  Search this
Yale/Norfolk Summer School of Art -- Students  Search this
Albers, Josef  Search this
Chaet, Bernard  Search this
Hesse, Eva, 1936-1970  Search this
Katz, Alex, 1927-  Search this
LeWitt, Sol, 1928-2007  Search this
Lippard, Lucy R.  Search this
Marden, Brice, 1938-  Search this
Nice, Don, 1932-  Search this
Welliver, Neil  Search this
Wyman, Robert  Search this
Extent:
3 Items (sound files (2 hr., 43 min.) Audio, digital, wav)
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Italy -- description and travel
New York (N.Y.) -- Description and Travel
Date:
2017 November 16
Scope and Contents:
An interview with Robert Mangold conducted 2017 November 16, by Christopher Lyon, for the Archives of American Art, at Mangold's studio in Washingtonville, New York.
Mangold speaks of his childhood in the North Tonawanda, New York; early experiences of drawing; attending the Cleveland Institute of Art, a summer program at Yale Norfolk, and graduate school at Yale; his first encounter and experiments with Abstract Expressionism in the late 1950s; the influence of Pop art and New York City's built environment on his work; moving to New York in 1962; the art world social scene of the early 1960s; his teaching career at SVA; his investigative approach to art-making; his approach to making series of works; the influence of living in the countryside on his work; his investigations of drawn lines in paintings beginning in the late '60s; his recent decision to hire an assistant; his formative summer of 1974 in Italy; his 2017 retrospective survey at Mnuchin Gallery; and his comments on certain pieces reproduced in the Pace Gallery catalogue of his work. Mangold also recalls Bernard Chaet, Alex Katz, Josef Albers, Brice Marden, Neil Welliver, Lucy Lippard, Robert Ryman, Sol LeWitt, Eva Hesse, Don Nice, and others.
Biographical / Historical:
Robert Mangold (1937- ) is a minimalist artist in New York, New York. Christopher Lyon (1949- ) is an author and publisher in Brooklyn, New York.
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.
Topic:
Abstract expressionism  Search this
Art -- Technique  Search this
Minimal art  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Pop art  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.mangol17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mangol17

Jorge Prelorán films

Creator:
Preloran, Jorge, 1933-2009  Search this
Names:
University of California, Los Angeles  Search this
Extent:
50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
22 Linear feet (Papers and photographs)
Type:
Collection descriptions
Archival materials
Film reels
Place:
Patagonia (Argentina and Chile)
Argentina
Date:
1954-circa 2008
Summary:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
Scope and Contents:
This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.

The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.

Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.

In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
Arrangement:
This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
Biographical Note:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).

Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.

Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.

Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.

In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).

Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.

During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.

Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.

Sources Consulted

UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary

Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.

Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.

Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.

1933 -- Born May 28 in Buenos Aires, Argentina

1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina

1954 -- Completes first film, Venganza, a fictional short

1955 -- Studies at the College of Architecture, University of California at Berkeley

1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany

1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA

1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York

1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina

1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA

1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA

1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University

1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina

1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina

1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television

1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York

1980 -- Academy Award nominee for Luther Metke at 94

1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin

1986 -- Naturalized as a United States citizen

1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado

1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus

2009 -- Dies on March 28 in Culver City, California
Related Materials:
The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).

The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.

The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.
Provenance:
This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
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.

Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.

Access to the Jorge Prelorán collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Ethnology  Search this
Documentary films  Search this
Biography  Search this
Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.2007.10
See more items in:
Jorge Prelorán films
Archival Repository:
Human Studies Film Archives
EDAN-URL:
ead_collection:sova-hsfa-2007-10
Online Media:

Balikci

Collection Creator:
Preloran, Jorge, 1933-2009  Search this
Container:
Box 1
Type:
Archival materials
Date:
1985-1986
Scope and Contents:
Correspondence with filmmaker Asen Balikci and the Commission on Visual Anthropology (Montreal, Canada).
Collection 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.

Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.

Access to the Jorge Prelorán collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
See more items in:
Jorge Prelorán films
Jorge Prelorán films / Series 6: Project Files
Archival Repository:
Human Studies Film Archives
EDAN-URL:
ead_component:sova-hsfa-2007-10-ref466

GARDNER, Robert; Harvard University; AC February 1984 - Cultural and Visual Anthropological Research on Indian Ritual

Collection Creator::
Smithsonian Institution. Office of Fellowships and Grants  Search this
Container:
Box 1 of 1
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 01-039, Smithsonian Institution, Office of Fellowships and Grants, Grant Review Files
See more items in:
Grant Review Files
Grant Review Files / Box 1
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa01-039-refidd1e192

Edmund Snow Carpenter papers

Creator:
Carpenter, Edmund, 1922-2011  Search this
Names:
De Menil, Adelaide  Search this
Flaherty, Robert Joseph, 1884-1951  Search this
Heye, George G. (George Gustav), 1874-1957  Search this
McLuhan, Marshall, 1911-1980  Search this
Schuster, Carl, 1904-1969  Search this
Extent:
26.25 Linear feet
Culture:
Arctic peoples  Search this
Iglulingmiut Inuit (Iglulik/Iglulirmiut Eskimo)  Search this
Inuit  Search this
Inuit -- Canada  Search this
Inuit -- Greenland  Search this
Iroquois  Search this
Type:
Collection descriptions
Archival materials
Place:
Canada
Greenland
New Guinea (Territory)
Papua New Guinea
Date:
circa 1938-2011
Summary:
Edmund Snow Carpenter (1922-2011) was an archaeologist and visual anthropologist who worked extensively with the indigenous peoples of the Canadian Arctic as well as Papua New Guinea. With his colleague and close collaborator Marshall McLuhan (1911-1980), he laid the groundwork for modern media theory. Carpenter is also known for his work as an ethnographic filmmaker and as a collector of Paleo-Eskimo art. The Papers of Edmund Carpenter, circa 1938-2011, document the research interests and projects undertaken by Carpenter in the fields of cultural anthropology, ethnographic filmmaking, media theory, archaeology, and indigenous art.
Scope and Contents:
The papers of Edmund Carpenter, 1940-2011, document the research interests and projects undertaken by Carpenter in the fields of cultural anthropology, ethnographic filmmaking, media theory, archaeology, and indigenous art. Specific research projects and interests documented are: his 1950s fieldwork among the Aivilik Inuit in the Canadian Arctic as well as his studies into Inuit concepts of space, time, and geography; his partnership and collaboration with media theorist Marshall McLuhan and his ethnographic studies of Papua New Guinean tribal communities; his early-career archaeological digs at Haudenosaunee (Iroquois) burial mounds in Sugar Run, Pennsylvania, as well as later archaeological interest in Arctic peoples, Siberia, and the Norwegian artifact dubbed the "Norse Penny"; his reflections on the disciplines of anthropology and media studies; his editing and completion of the work of art historian Carl Schuster at the Museum der Kulturen (Museum of Ethnology) in Basel, Switzerland; his editing of The Story of Comock the Eskimo, as told to Robert Flaherty; and his museum exhibitions compiled on the topics of surrealist and tribal art. The collection also documents Carpenter's correspondence with fellow scholars, ethnographers, filmmakers, and colleagues; his published writings; and elements of his personal life, such as obituaries and personal photographs.

Materials in this collection include artifact and burial records; correspondence; drawings and illustrations; essays; interviews and oral histories; inventories and catalogues; manuscripts and drafts, and fragments of drafts; maps; memoranda and meeting minutes; notes, notebooks, and data analysis; obituaries and memorials; photographic prints, slides, and negatives, including personal photographs and portraits; proposals and plans for museum exhibits; reports; resumes and bibliographies; reviews; and sound recordings on CD-Rs and audio cassettes. Additional materials include books and book chapters; journal copies and journal excerpts; magazine, newspaper, and article clippings and excerpts; museum and gallery catalogues, brochures, and guides; pamphlets; and reprints. A portion of the material collected here consist of consolidated research into specific topics, gathered from archival repositories, museums, correspondence, and published works. This material consists of research reprints and archival reference photocopies and photographic prints from various repositories.

Items worthy of special mention in this collection include: annotated draft chapters from Marshall McLuhan's seminal work on media theory, Understanding Media: The Extensions of Man (Series 2); a 1957 letter from e. e. cummings to Carpenter, written in verse (Series 3); an undated thank-you note addressed to "Sadie" from Helen Keller (Series 3); and a transcript of an interview of Carpenter by his former student, Harald Prins (Series 2).

Audiovisual material in this collection is currently undergoing processing.
Arrangement:
The collection is organized into the following 7 series:

Series 1. Fieldwork and drafts, 1940-2011 (bulk 1940-1959)

Series 2. Research and project files, 1940-2011

Series 3. Correspondence, circa 1938-2011

Series 4. Publications and lectures, circa 1942-circa 2006

Series 5. Personal, 1942-2011

Series 6. Film and visual material (in-process)

Series 7. Writings by others, 1960-2009, undated
Biographical Note:
Edmund Snow Carpenter (1922-2011) was an archaeologist and visual anthropologist who worked extensively with the indigenous peoples of the Canadian Arctic and Papua New Guinea. With his colleague and close collaborator Marshall McLuhan (1911-1980), he laid the groundwork for modern media theory. Carpenter is also known for his work as an ethnographic filmmaker and as a collector of Paleo-Eskimo art.

Born in 1922 in Rochester, New York, Edmund (nicknamed "Ted") Carpenter served in the U.S. Marine Corps during World War II before receiving his Ph.D. from the University of Pennsylvania in 1950 under Frank Speck for work on Iroquoian prehistoric archaeology. Carpenter began teaching at the University of Toronto in 1948 while simultaneously working as a programmer for the Canadian Broadcasting Corporation (CBC). In the 1950s, he undertook fieldwork in the Canadian Arctic among the Aivilik (an Inuit Igloolik subgroup). This fieldwork resulted in several publications in the field of cultural anthropology, including Time/Space Concepts of the Aivilik (1955), Anerca (1959), and Eskimo (1959, republished as Eskimo Realities in 1973).

Also in the 1950s, Carpenter began a working relationship with media theorist Marshall McLuhan. Together, they received a Ford Foundation grant (1953-1955) for an interdisciplinary media research project into the impact of mass communications and mass media on culture change. Carpenter and McLuhan's partnership resulted in the Seminar on Culture and Communication (1953-1959) and the journal series Explorations. In 1957, Carpenter was the founding chair in the interdisciplinary program "Anthropology and Art" at San Fernando Valley State College (now California State University, Northridge). There, he collaborated with Bess Lomax Hawes and other colleagues in the production of several ethnographic films, including Georgia Sea Island Singers about Gullah (or Geechee) songs and dances. During this period, Carpenter worked with McLuhan on the latter's seminal book Understanding Media: The Extensions of Man (1964). The article published as "Fashion is Language" in Harper's Bazaar under McLuhan's name (1968) was actually written by Carpenter. It was later published in book form under Carpenter's name, with the title They Became What They Beheld (1970).

In 1969, Carpenter took a research professorship at the University of Papua and New Guinea sponsored by the government of Australia. Alongside photographer Adelaide De Menil (whom he would later marry), he applied many of the ideas about media literacy and culture change to indigenous communities of Papua New Guinea. These activities led to developments in the field of media ecology, as well as the publication of Carpenter's best-known work, Oh, What a Blow the Phantom Gave Me! (1976).

Carpenter taught intermittently at various universities throughout his career, including Fordham University, the University of California-Santa Cruz, Adelphi University, Harvard University's Center for Visual Anthropology, the New School for Social Research, and New York University. He spent eight years associated with the Museum of Ethnology in Basel, Switzerland (1973-1981), editing art historian Carl Schuster's research.

In addition to his teaching and research, Carpenter, with his wife Adelaide De Menil, collected tribal art, eventually amassing the largest private collection of Paleo-Eskimo art in the United States. In the 1990s and early 2000s, Carpenter curated various exhibitions on art and visual culture, including the Menil Collection's Witness to a Surrealist Vision and the Musée du Quai Branly's Upside Down (later reconstructed at the Menil Collection). In later years, Carpenter resumed his archaeological interest in Arctic peoples, researching and collaborating on the Zhokhov Island Mesolithic site in the Russian Arctic with Russian scientists from the Institute for the History of Material Culture and archaeologists from the Smithsonian Institution's National Museum of Natural History.

Carpenter died on July 1, 2011 at his home in New York.

Sources consulted:

"Edmund Snow Carpenter." https://edmundsnowcarpenter.com/about

Grimes, William. "Edmund Carpenter, Archaeologist and Anthropologist, Dies at 88." The New York Times. 2011 July 7. https://www.nytimes.com

Prins, Harald E. L. and John Bishop. "Edmund Carpenter: Explorations in Media and Anthropology." Visual Anthropology Review 17:2 (Fall-Winter 2001-2002): 110-140.

Chronology

1922 September 2 -- Born in Rochester, New York

circa 1940-1941 -- Archaeological field work, Sugar Run mounds, Pennsylvania

1942-1946 -- Served in the United States Marine Corps

1948-1957 -- Anthropology Department, University of Toronto

circa 1950 -- Began work for the Canadian Broadcasting Corporation (CBC)

1950 -- Ph.D. University of Pennsylvania (Anthropology)

1950s -- Fieldwork among the Aivilik Inuit

1953-1959 -- Ran the Seminar on Culture and Communication with Marshall McLuhan

1957-1967 -- "Anthropology and Art" program at San Fernando Valley State College (California State University, Northridge)

1967-1968 -- Schwitzer Chair, Fordham University (with Marshall McLuhan)

1968-1969 -- Carnegie Chair in Anthropology, University of California, Santa Cruz

1969-1970 -- Research Professor, University of Papua and New Guinea

1973-1981 -- Associated with the Museum of Ethnology in Basel, Switzerland for Carl Schuster papers project

circa 1989-2005 -- Collaboration regarding Zhokov Island archaeological site

2011 July 1 -- Died in East Hampton, New York
Separated Materials:
Film and video recordings are retained by the Human Studies Film Archives (HSFA) as the Edmund Carpenter-Adelaide de Menil Collection (HSFA 2004-04). Once processing is complete, they will be described in the following finding aid in Series 6.
Provenance:
The Edmund Snow Carpenter papers were donated to the National Anthropological Archives in 2017 by Adelaide de Menil on behalf of the Rock Foundation.
Restrictions:
The Edmund Snow Carpenter papers are open for research.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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.

Digital media in the collection is restricted for preservation reasons.

Access to the Edmund Snow Carpenter papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Archaeology  Search this
Cartography  Search this
Ethnographic films  Search this
Indigenous art  Search this
Inuit art  Search this
Menil Collection (Houston, Tex.)  Search this
Museum exhibits  Search this
Paleo-Eskimos  Search this
Visual anthropology  Search this
Citation:
Edmund Snow Carpenter papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2017-27
See more items in:
Edmund Snow Carpenter papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2017-27
Online Media:

Flora S. Kaplan papers

Creator:
Kaplan, Flora S.  Search this
Names:
New York University. Museum Studies Program  Search this
Extent:
134 Sound recordings
31.5 Linear feet (72 boxes)
Type:
Collection descriptions
Archival materials
Sound recordings
Correspondence
Field notes
Place:
Mexico
Benin (Nigeria)
Date:
1951-2012, bulk 1969-2012
Summary:
The Flora S. Kaplan papers document her field work, research, and professional activities from 1951-2012 (bulk 1969-2012) and primarily deal with her work as the director and founder of New York University's Museum Studies program and her field work in Benin and Mexico. The collection consists of correspondence, research files, book files, photographs, sound recordings, ephemera, and writings.
Scope and Contents:
The Flora S. Kaplan papers document her field work, research, and professional activities from 1951-2012 (bulk 1969-2012) and primarily deal with her work as the director and founder of New York University's (NYU) Museum Studies program and her field work in Benin, Nigeria and Mexico. The collection consists of correspondence, research files, book files, photographs, sound recordings, ephemera, and writings.

Series 1. Museum Studies contains material related to the administration of NYU's Museum Studies program, Kaplan's participation in professional societies including ICOM (International Council of Museums), AAA (American Anthropological Association), and ACASA (Arts Council of the African Studies Association), and materials dealing with Kaplan's museum studies publications, especially Museums and the Making of "Ourselves": The Role of Objects in National Identity.

Series 2. Benin (Nigeria) consists of materials related to Kaplan's fieldwork in Benin, Nigeria including her tenure as a Fulbright professor at the University of Benin from 1983-1985 and subsequent books, articles, symposia, correspondence and travels to Benin. This includes letters from friends and business associates in Benin, including extensive correspondence with the Oba of Benin, and field notes that span more than 20 years and include interviews, research, and Kaplan's thoughts on her experiences.

Series 3. Mexico consists of materials related to Kaplan's field work in Mexico in the 1970s and subsequent research and writings. This includes original research in support of Kaplan's doctoral thesis, A Mexican Folk Pottery Tradition: Cognition and Style in Material Culture in the Valley of Puebla.
Arrangement:
This collection is arranged in 3 series: Series 1. Museum studies, 1951-2012, bulk 1970-2012; Series 2. Benin (Nigeria), 1969-2012; Series 3. Mexico, 1957-2007, bulk 1969-1998.
Biographical note:
Flora Edouwaye S. Kaplan, anthropologist, is a professor emerita, and founding director (1978-99) of the Museum Studies Program, Faculty of Arts and Sciences, New York University (NYU). She taught Anthropology as a Fulbright professor, (1983-85), University of Benin, Nigeria; and previously taught at Lehman College, CUNY (1970-1976), before arriving at New York University in 1976.

She publishes widely on Benin (Nigeria) and on Mexico, museum politics, art, photography, religion and gender. She holds degrees in anthropology from The Graduate Center, CUNY (Ph.D.), and Columbia University (M.A., archaeology). Dr. Kaplan was on the curatorial staff at the Brooklyn Museum, New York for six years in the Department of Primitive Art and New World Cultures. She was a research associate at the Museum of the American Indian, (1977-87), and was an associate at the Center for Latin American and Caribbean Studies at NYU for more than 20 years. She co-edited the book series 'Museum Meanings' (Routledge) from 1997-2010 and has been a Board member of the journal 'Museums & Society' (University of Leicester Press) since 2004.

(Biography courtesy of Flora Kaplan's C.V. in Box 3 of this collection)

Chronology

1930 August 28 -- Flora Kaplan born in New York City

1951 -- B.A. degree, Hunter College: English writing major, Anthropology minor

1951-1954 -- Assistant, The Brooklyn Museum of the City of New York, Department of Primitive Art and New World Cultures

1954-1957 -- Acting Curator, The Brooklyn Museum of the City of New York, Department of Primitive Art and New World Cultures

1958 -- M.A. degree, Columbia University, Anthropology

1970-1976 -- Graduate fellow, lecturer: Herbert H. Lehman College of the City University of New York (CUNY), Department of Anthropology

1972-1973, 1977 -- Field work, Mexico

1976 -- Ph.D., The Graduate Center of the City University of New York (CUNY), Social Anthropology

1976-1999 -- Director and founder of the Museum Studies Program, professor of Anthropology, New York University

1977-1987 -- Research associate, Museum of the American Indian

1983-1985 -- Fulbright professor at the University of Benin, Nigeria

1999-present -- Professor emerita of Museum Studies, New York University
Related Materials:
Additional material from Flora S. Kaplan, primarily related to her field work in Mexico, can be located at the National Museum of the American Indian (NMAI) Archive Center: Flora S. Kaplan collection, 1965-1989.
Separated Materials:
Two one-half inch video tapes and two 3/4 inch Umatic video tapes were transferred to the Human Studies Film Archive (accession number 2016-008).
Provenance:
These papers were donated to the National Anthropological Archives by Flora S. Kaplan in 2015.
Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Contact the repository for terms of use.
Topic:
Pottery, Mexican  Search this
Women anthropologists  Search this
Genre/Form:
Sound recordings
Correspondence
Field notes
Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2015-21
See more items in:
Flora S. Kaplan papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2015-21

"Some Uses of Photographs in Recovering Cultural History at the Royal Court of Benin" Benin Visual Anthropology volume 3

Collection Creator:
Kaplan, Flora S.  Search this
Extent:
2 Folders
Container:
Box 59
Type:
Archival materials
Date:
1990-1991
Collection Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Flora S. Kaplan papers
Flora S. Kaplan papers / Series 2: Benin (Nigeria) / 2.7: Writings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2015-21-ref470

"Benin Art Revisited": Visual Anthropology volume 4

Collection Creator:
Kaplan, Flora S.  Search this
Extent:
2 Folders
Container:
Box 58
Type:
Archival materials
Date:
1989-1993
Collection Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Flora S. Kaplan papers
Flora S. Kaplan papers / Series 2: Benin (Nigeria) / 2.7: Writings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2015-21-ref471

"Historical photographs as anthropological documents" J. Sherer Visual Anthropology introduction

Collection Creator:
Kaplan, Flora S.  Search this
Container:
Box 20
Type:
Archival materials
Date:
1990
Collection Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Flora S. Kaplan papers
Flora S. Kaplan papers / Series 1: Museum studies / 1.5: Publishing and writings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2015-21-ref525

Visual Anthropology, review of journal

Collection Creator:
Kaplan, Flora S.  Search this
Container:
Box 22
Type:
Archival materials
Date:
1991
Collection Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Flora S. Kaplan papers
Flora S. Kaplan papers / Series 1: Museum studies / 1.5: Publishing and writings / Reviews:
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2015-21-ref545

Visual Anthropology review, article submitted

Collection Creator:
Kaplan, Flora S.  Search this
Container:
Box 22
Type:
Archival materials
Date:
1990
Collection Restrictions:
The Flora S. Kaplan papers are currently closed to researchers due to donor imposed restrictions. Please contact the NAA for further information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Flora S. Kaplan papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Flora S. Kaplan papers
Flora S. Kaplan papers / Series 1: Museum studies / 1.5: Publishing and writings / Reviews:
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2015-21-ref547

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