The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Edith T. Martin papers, 1961–2004 are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
Edith T. Martin papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Edith T. Martin.
The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Edith T. Martin papers, 1961–2004 are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
Edith T. Martin papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Edith T. Martin.
The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Edith T. Martin papers, 1961–2004 are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
Edith T. Martin papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Edith T. Martin.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund.
Subseries consists of photographs of Nevelson once she had become known, and began to be honored, as an artist. The majority are either portraits of the artist or photographs of the artist at work, at home, and in different settings taken by various individuals. Most notable among these are the portraits of Nevelson and photographs of her house and studio on Thirtieth Street taken by Jeremiah Russell and the photographs of Nevelson at home and in her studio, at work with her assistant Diana Mackown, and with her art work taken by Ugo Mulas, the Italian photographer known for documenting the life and work of artists. Others, including the portraits taken by Renate Ponsold and Jack Mitchell, may have been used in various art works and/or exhibitions; still others, such as the photographs taken by Basil Langton, may have been intended for publication. Also found are photographs of Nevelson at various exhibitions and openings (including the opening of her show at Studio Marconi in Milan, Italy), at various social gatherings (including a reception at her brother's hotel, the Thorndike Hotel, where she was photographed with Andrew Wyeth), and receiving various awards and honors (including honorary degrees from Columbia University and Smith College, and the first Women's Caucus for Art Award). Also included are photographs from the artist, Robert Indiana, featuring himself in front of his and Nevelson's sculptures, and at gatherings with Nevelson, and some photographs that were featured in Look magazine.
Arrangement note:
Photographs are arranged into files according to photographer, type, or subject. Files are arranged in rough chronological order.
Collection Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Georgette Seabrooke Powell discussed her work and her life as an artist and as a community activist. After a slideshow presentation, Powell led a tour through the exhibition 'Art Changes Things: The Art and Activism of Georgette Seabrooke Powell.' The exhibition tour was followed by a reception where Powell was presented with an award for over sixty years of outstanding contributions to the arts by the Women's Caucus for Art. The event was held on March 4, 1995.
Presentation and exhibition tour. Related to exhibition 'Art Changes Things: The Art and Activism of Georgette Seabrooke Powell.' Dated 19950304.
Biographical / Historical:
'Art Changes Things: The Art and Activism of Georgette Seabrooke Powell' was a retrospective exhibition featuring works by post-Harlem Renaissance artist Georgette Powell. The exhibition was held at the Anacostia Museum from March 4, 1995 - May 28, 1995.
General:
Title created by ACM staff based on transcription from physical asset, contents of recording, and title of exhibition.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
