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Black Journal: 22; The Black G.I.

Directed by:
Kent Garrett, American, born 1941  Search this
Produced by:
William Greaves, American, 1926 - 2014  Search this
National Educational Television, American, 1954 - 1970  Search this
Subject of:
L. Howard Bennett, American, 1913 - 1993  Search this
Sylvester Bracey Sr., American, ca. 1949 - 2019  Search this
Owned by:
Pearl Bowser, American, 1931 - 2023  Search this
Medium:
acetate film
Dimensions:
Duration: 50 Minutes
Length (Film): 1,800 Feet
Type:
sound films
color films (visual works)
16mm (photographic film size)
Place filmed:
H? Chí Minh, Viet Nam, Asia
Camp Hansen, Okinawa, Japan, Asia
Arlington County, Virginia, United States, North and Central America
Date:
1970
Topic:
African American  Search this
Documentary films  Search this
Film  Search this
Gesture  Search this
Mass media  Search this
Military  Search this
Public television  Search this
Race discrimination  Search this
Race relations  Search this
Vietnam War, 1961-1975  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser
Object number:
2012.79.1.51.1a
Restrictions & Rights:
© National Educational Television
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Pearl Bowser Collection
Portfolio/Series:
Black Journal
Classification:
Media Arts-Film and Video
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd52bd1f8e2-5401-4dc0-9984-bb011645927b
EDAN-URL:
edanmdm:nmaahc_2012.79.1.51.1a

Women and Jazz: International Sweethearts of Rhythm

Creator:
Smithsonian Institution  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2011-04-10T18:10:10.000Z
YouTube Category:
Entertainment  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt__Cjmg8Jepvw

Our Native Daughters - "Mama's Cryin' Long" [Behind The Scenes Documentary]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2018-12-13T13:58:28.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_M7PvWw97Cq0

History in Context: The Impact of MLK's Assassination

Creator:
Smithsonian Channel  Search this
Type:
YouTube Videos
Uploaded:
2020-07-02T20:22:23.000Z
YouTube Category:
Entertainment  Search this
See more by:
smithsonianchannel
Data Source:
Smithsonian Channel
YouTube Channel:
smithsonianchannel
EDAN-URL:
edanmdm:yt_SqCRZ3iXx-I

Maison d'Ernest Le Gouve, 1908

Maker:
Atget, Eugene  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 22 cm x 17.9 cm; 8 21/32 in x 7 1/16 in
Object Name:
photograph
Place made:
France: Île-de-France, Paris
Date made:
1907
Subject:
Architecture  Search this
ID Number:
PG.006294.04
Accession number:
238,258
Catalog number:
6294.04
See more items in:
Work and Industry: Photographic History
Photo History Collection
Photography
Eugene Atget Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-ffe6-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1321599

Philip Pearlstein papers

Creator:
Pearlstein, Philip, 1924-  Search this
Names:
WBAI Radio (New York, N.Y.)  Search this
WRFM (Radio station : New York, N.Y.)  Search this
Barnet, Will, 1911-2012  Search this
Blaine, Michael  Search this
Cantor, Dorothy  Search this
Close, Chuck, 1940-  Search this
Downes, Rackstraw  Search this
Dückers, Alexander, 1939-  Search this
Field, Richard  Search this
Haas, Richard, 1936-  Search this
Hampleman, Jean  Search this
Kelly, W. J.  Search this
Levine, Jack, 1915-2010  Search this
McCarthy, David, 1960-  Search this
Shaman, Sanford Sivitz  Search this
Storr, Robert  Search this
Tamburini, Fernando  Search this
Tsao, Vivian, 1950-  Search this
Updike, John  Search this
Viola, Jerome  Search this
Wallin, Leland  Search this
Ward, John  Search this
Warhol, Andy, 1928- -- Photographs  Search this
Witkin, Jerome  Search this
Yezzi, David  Search this
Extent:
31.8 Linear feet
16.68 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Date:
circa 1940-2008
Summary:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Scope and Contents:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)
Biographical / Historical:
Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.
Provenance:
The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Architecture -- Egypt  Search this
Architecture, Roman  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Citation:
Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearphil
See more items in:
Philip Pearlstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe
EDAN-URL:
ead_collection:sova-aaa-pearphil
Online Media:

Alexander Liberman papers

Creator:
Liberman, Alexander, 1912-1999  Search this
Names:
André Emmerich Gallery  Search this
Bennington College  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Solomon R. Guggenheim Museum  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Beaton, Cecil Walter Hardy, Sir, 1904-  Search this
Cartier-Bresson, Henri, 1908-  Search this
Chernow, Burt  Search this
Dalí, Salvador, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Dietrich, Marlene  Search this
Emmerich, André  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hopps, Walter  Search this
Klein, William  Search this
Kline, Franz, 1910-1962  Search this
Leibovitz, Annie, 1949-  Search this
Motherwell, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Newton, Helmut, 1920-  Search this
Parks, Gordon, 1912-2006  Search this
Parsons, Betty  Search this
Penn, Irving  Search this
Picasso, Pablo, 1881-1973  Search this
Ritts, Herb  Search this
Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this
Steichen, Edward, 1879-1973  Search this
Vogel, Lucien  Search this
Vreeland, Diana  Search this
Extent:
59 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Date:
circa 1912-2003
Summary:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
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:
Publishers -- New York (State) -- New York  Search this
Graphic designers  Search this
Topic:
Photographers -- New York (State) -- New York  Search this
Photography  Search this
Sculptors -- France -- Paris  Search this
Fashion photography  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- France -- Paris  Search this
Genre/Form:
Drafts (documents)
Drawings
Scrapbooks
Interviews
Photographs
Sketches
Sound recordings
Transcripts
Video recordings
Citation:
Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.libealex
See more items in:
Alexander Liberman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a
EDAN-URL:
ead_collection:sova-aaa-libealex
Online Media:

FACEism: A panel discussion of history and accountability

Creator:
National Museum of American History  Search this
Type:
YouTube Videos
Uploaded:
2021-02-20T00:25:55.000Z
YouTube Category:
Education  Search this
Topic:
American History  Search this
See more by:
SmithsonianAmHistory
Data Source:
National Museum of American History
YouTube Channel:
SmithsonianAmHistory
EDAN-URL:
edanmdm:yt_h3AiHVr-IIQ

"American Abstract Expressionists - Perle Fine"

Creator:
Herskovic, Thomas  Search this
Type:
Videorecording
Date:
1991
Citation:
Thomas Herskovic. "American Abstract Expressionists - Perle Fine", 1991. Abstract expressionist art movement in America video documentation project, 1991-1992. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA)25001
See more items in:
Abstract expressionist art movement in America video documentation project, 1991-1992
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_25001

Light Coming Through: A Portrait of Maud Morgan

Creator:
Raine, Nancy  Search this
Type:
Motion Picture Film
Date:
1980
Citation:
Nancy Raine. Light Coming Through: A Portrait of Maud Morgan, 1980. Light coming through: a portrait of Maud Morgan motion picture, circa 1980, c1980. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA)26107
See more items in:
Light coming through: a portrait of Maud Morgan motion picture, circa 1980, c1980
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_26107

Lowery Stokes Sims papers

Creator:
Sims, Lowery Stokes  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Studio Museum in Harlem  Search this
Catlett, Elizabeth, 1915-2012  Search this
Colescott, Robert, 1925-2009  Search this
Lam, Wifredo  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Extent:
34 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Video recordings
Date:
1967-2019
Summary:
The papers of African American art historian, curator and arts administrator, Lowery Stokes Sims, measure 34.0 linear feet and date from 1967 to 2019. The collection documents Sims's career, and her work towards the inclusion of women artists and artists of color into the mainstream art world. The collection comprises biographical materials, datebooks, correspondence, writings, notebooks, exhibition files, professional files that include Sims's files from the Studio Museum in Harlem, Metropolitan Museum of Art records, research files, files on Robert Colescott, printed materials, photographic materials, and unidentified audiovisual and born-digital materials.
Scope and Contents:
The papers of African American art historian, curator and art administrator, Lowery Stokes Sims, measure 34.0 linear feet and date from 1967 to 2019. The collection documents Sims's career, and her work towards the inclusion of women artists and artists of color into the mainstream art world. The collection comprises biographical materials, datebooks, correspondence, writings, notebooks, exhibition files, professional files that include Sims's files from the Studio Museum in Harlem, Metropolitan Museum of Art records, research files, files on Robert Colescott, printed materials, photographic materials, and unidentified audiovisual and born-digital materials.

Biographical materials contain address books, awards, interviews with Sims, and resumes. Fifty datebooks highlight Sims's daily activities for over four decades. Personal and professional correspondence is with Audrey Flack, Za, Betye Saar, Hale Woodruff, Susan Schwalb, Margo Machida, William McKnight, and others.

Writings include drafts and typescripts on Alma Thomas, Elizabeth Catlett, Romare Bearden, Wifredo Lam, African American and women artists; a transcript of a conversation between Sims and Maren Hassinger; and born digital material of presentations. Also in the collection are 60 notebooks containing personal and professional notes and journal entries.

Exhibition files consist of correspondence, budget records, writings about the exhibition and for the catalog, clippings, exhibition announcements, loan forms, artist biographies, and artwork lists for Living Space: An Exhibition on Low Income Housing (1977), Art as a Verb (1988), Next Generation: Southern Black Aesthetic (1990), and Richard Pousette-Dart, 1916-1992 (1997).

Professional files document Sims's memberships, conferences, projects, and teaching activities, as well as her work at the Studio Museum of Harlem. The Metropolitan Museum of Art records consist of research on the museum's collection of works by African American artists, program and staff files, and snapshots of Sims with colleagues on a trip to Patagonia.

Research files contain printed materials, notes, 32 audiovisual recordings and nine born digital discs, and biographical material on artists Frederick Brown, Elizabeth Catlett, Stuart Davis, Maren Hassinger, Edgar Heap of Birds, Al Loving, Faith Ringgold, Jaune Quick-To-See Smith, Kara Walker, and others. The files on Robert Colescott include a book proposal, artwork lists, exhibition files, four sound recordings of an interview between Colescott and Sims, and research material on related topics.

Printed materials consist of clippings featuring Sims, posters, event programs, a few newsletters and magazines, exhibition catalogs that include essays written by Sims, and three documentary recordings. Photographic materials include prints, negatives, transparencies, photograph albums, and slides of Sims, colleagues and friends, exhibitions and professional events, Russ Thompson and Benny Andrews, Beverly Buchanan, Rick Powel, Vaclav Havel, Jeff Donaldson, Samella Lewis, and others.

The final series consists of nine sound recordings and one born digital disc (CD) that could not be placed into a series as the material is either unlabeled or the labels are illegible.
Arrangement:
The collection is arranged as 13 series.

Series 1: Biographical Material, circa 1980-circa 2005 (0.5 linear feet; Box 1)

Series 2: Datebooks, 1975-2017 (4.0 linear feet; Boxes 1-5)

Series 3: Correspondence, 1971-2018 (1.0 linear feet; Boxes 5-6)

Series 4: Writings, circa 1970s-2018 (2.6 linear feet; Boxes 6-8, OV 33)

Series 5: Notebooks, 1975-2016 (2.6 linear feet; Boxes 39-42)

Series 6: Exhibition Files, 1967-2017 (1.6 linear feet; Boxes 9-10, OV 36)

Series 7: Professional Files, 1969-2018 (6.3 linear feet; Boxes 10-16, OV 34)

Series 8: Metropolitan Museum of Art Records, 1972-2008 (6.0 linear feet; Boxes 16-22, OV 38)

Series 9: Research Files, circa 1970-2017 (6.0 linear feet; Boxes 22-28, OV 35)

Series 10: Files on Robert Colescott, 1971-2019 (1.6 linear feet; Boxes 28-30)

Series 11: Printed Materials, 1970s-2017 (1.8 linear feet; Box 30, OV 37)

Series 12: Photographic Materials, 1970s-2018 (0.8 linear feet; Boxes 31-32)

Series 13: Unidentified Audio and Born Digital Material, circa 1985-2009 (1 folder; Box 32)
Biographical / Historical:
Lowery Stokes Sims (1949-) is an African American art historian, curator, and arts administrator. Sims began her career at the Metropolitan Museum of Art in 1972 where she became the museum's first African American curator. She left the Met in 1999 for the Studio Museum in Harlem where she served as Executive Director, President, and then Adjunct Curator of the Permanent Collection from 2000 to 2007. From 2007 to 2015, she was curator for the Museum of Art and Design.

Sims was born in Washington D.C. but moved to New York when she was 2 years old. She graduated from Bishop Reilly High School in Queens, N.Y. in 1966. She went on to receive a bachelor of arts degree in art history from Queens College in 1970 and a master of arts degree in art history from Johns Hopkins University in 1972. In 1995, Sims completed her dissertation, published as Wifredo Lam and the International Avant-Garde, 1923-1982 in 2002, to receive her doctoral degree from The Graduate Center, City University of New York.

Sims is a member of the College Art Association, the International Committee of Art Critics, Art Matters Foundation, and has served on the boards of Just Above Midtown (JAM) Gallery, Caribbean Cultural Center, National State Council on the Arts, and the Center for Curatorial Studies at Bard College, among others. She was awarded the Frank Jewett Mather Award for Distinction in Art Criticism in 1991, a Leadership by Example Award from the New York coalition of 100 Black women in 1997, and a Lifetime Achievement in the Arts Award from the Queens Museum of Art in 1998. Sims has also lectured at Queens College, the Institute of Fine Art at New York University, the Studio Museum in Harlem, Rutgers University, and Bard College.
Related Materials:
Also found in the Archives of American Art is an oral history interview of Lowery Stokes Sims conducted on July 15 and 22, 2010 by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Sims' home, in New York, N.Y.
Provenance:
The collection was donated in 2019 by Lowery Stokes Sims as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
Notebooks in Series 5 are access restricted; written permission is required. Contact Reference Services for more information. 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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American art  Search this
African American art museum curators  Search this
Women art historians  Search this
Women museum curators  Search this
Genre/Form:
Sound recordings
Interviews
Video recordings
Citation:
Lowery Stokes Sims papers, 1967-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simslowe
See more items in:
Lowery Stokes Sims papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a66e8319-d9c1-4f8d-b005-08f8bc7cf659
EDAN-URL:
ead_collection:sova-aaa-simslowe
Online Media:

Linda Freeman papers

Creator:
Freeman, Linda, 1941-  Search this
Names:
L & S Video, Inc.  Search this
Bearden, Romare, 1911-1988  Search this
Lawrence, Jacob, 1917-2000  Search this
Pindell, Howardena, 1943-  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
32.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Moving images
Documentary films
Date:
1971-2015
bulk 1990-2011
Summary:
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
Topic:
Women artists  Search this
Women filmmakers  Search this
Genre/Form:
Interviews
Moving images
Documentary films
Unedited footage
Citation:
Linda Freeman papers, 1971-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.freelind
See more items in:
Linda Freeman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c7fb8df0-ed52-4180-bcff-6da23941a3c0
EDAN-URL:
ead_collection:sova-aaa-freelind

Christina Patoski Holiday Photoprints

Photographer:
Patoski, Christina  Search this
Extent:
1 Cubic foot (2 boxes, 16" x 20")
Type:
Collection descriptions
Archival materials
Photographs
Dye destruction process
Cibachrome (tm)
Dye destruction photoprints
Place:
Santa Fe (N.M.) -- Holiday decorations
Brooklyn (N.Y.) -- Holiday decorations
Minneapolis (Minn.) -- Holiday decorations
Sun Valley (Idaho) -- Holiday decorations
New York (N.Y.) -- Holiday decorations
Corpus Christi (Texas) -- Holiday decorations
Denver (Colo.) -- Holiday decorations
Fort Worth (Tex.) -- Holiday decorations
New Orleans (La.) -- Holiday decorations
Dallas (Tex.)
Fort Lauderdale (Fla.) -- Holiday decorations
Date:
circa 1973-1992
Summary:
Fourteen color photographic prints by Christina Patoski, depicting front-lawn and front-porch holiday displays (primarily Christmas) in various U.S. cities.
Scope and Contents:
The fourteen photographs in this group are Cibachrome prints from 35mm. Kodachrome slides, documenting front-lawn and front-porch holiday displays (primarily Christmas) in various U.S. cities, including a variety of economic, ethnic, and regional groups, architectural genres, and decorating styles, documenting a "unique seasonal custom found only in America." Several images suggest attempts to broaden the cultural/religious basis of the celebration, combining Jewish traditions with the Christmas decorating tradition. Cities documented are Denver, Fort Worth, Minneapolis, Sun Valley (Idaho), Manhattan and Brooklyn, N.Y., Corpus Christi, Dallas, Ft. Lauderdale, New Orleans, and Santa Fe.

The Cibachrome prints are horizontal on 16" x 20" paper, with 22" x 28" mats, except for "Holiday Spectacular," which was used on an introductory panel in ta national Museum of American History exhibition, without a mat.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Photographer, documentary producer, and journalist, Christina Patoski began photographing front-lawn and front-porch Christmas displays in 1973, in Fort Worth, Texas, beginning with a house on Diaz Street in the Como neighborhood. She called the photograph "Red Extravaganza," and it inspired her to photograph other houses. Driving up and down Fort Worth Streets at Christmastime with her saxophonist husband Johnny Reno, she worked exclusively at night. Concentrating at first on the most elaborate displays, she later sought simpler, more personal decorations, and became more discriminating. She repeated in many areas of the country as part of an ongoing project spread over many years. She is interested in documenting "unusual" elements of popular culture within a variety of topical fields.

She told the Fort Worth Star-Telegram, "I've seen so much, that for me to stop and take a photo now, it has to be something special… I've noticed, though, that there are a lot of houses decorated this year. And to me, that indicates a sense of optimism… when people decorate, there's a sense of good feeling."

Her photographic technique is simple, employing two fifteen-year-old 35mm cameras and low-speed Kodachrome film, using commercial processing. She has been photographing since she was a child, when her father encouraged her. Graduating from the University of Minnesota School of Journalism, she spent several years in Minneapolis as a dancer, choreographer, and television editor. She returned to Fort Worth in 1976 to work in television news, but since 1979 has been a free-lance writer, radio reporter (contributing to National Public Radio's "All Things Considered), and a producer and writer.

She is interested in documenting unusual elements of popular culture (what she calls "weirdness"), such as her Texas Monthly story, illustrated with her portraits, on Texas women with "big" hair. She maintains files on longhorn steer, pyromaniacs, tornadoes, and cheerleading, and considers herself a "Margaret Mead of popular culture."

Sources Jackie Koszczuk and Janet Tyson, "A Sense of the festive: Photographer captures home-grown Christmas Art," Fort Worth Star-Telegram, Section E, December 25, 1993, pp. 1, 4.
Provenance:
Collection donated by Christina Patoski, December 14, 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Christina Patoski retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Christianity and other religions -- Judaism -- Holiday decorations -- 1970-2000  Search this
Judaism -- Customs and practices  Search this
Christmas decorations -- 1970-2000  Search this
Hanukkah decorations -- 1970-2000  Search this
Housing -- 1950-2000 -- U.S.  Search this
Decorations -- Holiday -- 1950-2000 -- U.S.  Search this
Holiday decorations -- 1970-2000  Search this
Genre/Form:
Photographs -- Color photoprints -- 1950-2000
Dye destruction process
Cibachrome (TM)
Dye destruction photoprints
Citation:
[Photograph title], Christina Patoski Holiday Photoprints, 1973-1992, Archives Center, National Museum of American History. Copyright Christina Patoski. Gift of the artist.
Identifier:
NMAH.AC.0508
See more items in:
Christina Patoski Holiday Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep839603bc7-5156-45f6-bd46-fb8381d2f498
EDAN-URL:
ead_collection:sova-nmah-ac-0508

Footage of works by Luc Courchesne, Benjamin Britton, Paul Earls, Laurent Mignonneau, Christa Sommerer and Nam June Paik

Creator:
Courchesne, Luc, 1952-  Search this
Britton, Benjamin  Search this
Type:
Videorecording
Date:
1986-1995
Citation:
Luc Courchesne and Benjamin Britton. Footage of works by Luc Courchesne, Benjamin Britton, Paul Earls, Laurent Mignonneau, Christa Sommerer and Nam June Paik, 1986-1995. Cynthia Goodman papers, circa 1944-2001. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA)25263
See more items in:
Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_25263

Matthew Shepard Papers

Creator:
Shepard, Matthew, 1976-1998  Search this
Former owner:
Shepard, Dennis  Search this
Shepard, Judy  Search this
Extent:
14.1 Cubic feet (43 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Theater programs
Travel brochures
Travel journals
Correspondence
Place:
Wyoming
Date:
1976-2019, undated
Summary:
The papers of Matthew Shepard (1976-1998) a gay man who was a victim of a hate crime in Laramie, Wyoming October 1998 resulting in his death. His death gained national and international attention leading to the formation of the Matthew Shepard Foundation and eventual passage of federal hate crime legislation (The Matthew Shepard and James Byrd, Jr. Hate Crimes Prevention Act), signed into law in October 2009.
Content Description:
Papers relating to the life of Matthew Shepard, his beating, death, and its aftermath, leading to the passage of anti-hate crime legislation named for him and James Byrd, Jr. The papers include items from Shepard's early life, his school life, elementary through college, and personal material. The collection includes material from his recycling campaign. It also includes items from theater productions in which he participated. There is correspondence both written and received as well as notebooks and his passports. Travel and general ephemera are also included.

The papers related to the aftermath of his beating and death include funeral memorabilia, programs, flower cards, and photographs of floral arrangements. The bulk of the material consists of condolence cards and letters, expressions of sympathy and condolence, and material from memorial events thoughout the United States. These include not only written correspondence, but graphic and artistic tributes (drawings, poetry, screenplays, and musical compositions.)

There are screenplays, correspondence, and photographs relating to the television motion pictures, Anatomy of a Hate Crime (2001) and The Matthew Shepard Story (2002) starring Stockard Channing, Sam Waterston, and Shane Meier.

The papers have been utilized prior to their donation to the Archives, National Museum of American History by filmmaker Michele Josue and Zeina Barkawi for the award winning documentary, Matt Shepard Is A Friend of Mine (2015). The material was also researched by representatives of Ford's Theater, Washington, DC when Ford's mounted a production of Moises Kaufman's The Laramie Project in 2013.
Arrangement:
The collection is arranged in three series.

Series 1, Shepard, Matthew, Personal Papers, 1976-2018, undated

Subseries 1.1: Education and Schooling, 1981-1998, undated

Subseries 1.2: Correspondence, 1986-1998, undated

Subseries 1.3: Theater Memorabilia, 1986-1992, undated

Subseries 1.4: Assorted Papers and Ephemera, 1976-1999,undated

Subseries 1.5: Funeral and Celebration of Life, Estate, 1998 October-2018 October 26

Series 2, Shepard Family and The Matthew Shepard Foundation, Papers and Correspondence Received, 1998-2013, undated

Subseries 2.1: Papers, 1998-2003, undated

Subseries 2.2: Correspondence Received, 1998 October-2009 September

Series 3, Tribute, Vigil, Memorial Services, Memorabilia, and Inspired Works, 1998-2008, undated

Subseries 3.1: Tribute, Vigil, and Memorial Services, 1998, undated

Subseries 3.2: Memorabilia and Inspired Works,1973-2008, undated

Subseries 3.3: Anatomy of a Hate Crime, 1999-2001

Subseries 3.4: The Matthew Shepard Story, 1999-2004, undated
Biographical / Historical:
The life and death of Matthew Shepard have been documented in numerous biographies, motion pictures, and newsprint.

Matthew Wayne Shepard was born on December 1, 1976 in Casper, Wyoming to Judy Peck and Dennis Wayne Shepard. Shepard's early life was spent in Casper, where he attended elementary school, junior high, and high school till the tenth grade. While living in Casper, he participated in local productions at theater companies based in Casper. One of his school projects involved bringing awareness to recycling. He was so successful that he was appointed as the young adult representative to the governor's initiaive on state-wide recycling. In his junior year of high school, Shepard left Casper to attend The American School in Switzerland (TASIS). At that time his mother Judy and younger brother Logan joined Dennis Shepard in Saudi Arabia where Dennis was employed by SAUDI ARAMCO.

While attending TASIS on a school trip to Morocco Shepard was raped by one or more unknown assailants. Although the crime was reported, the perpetrators were never apprehended. This emotional and physical trauma stayed with Shepard the remainder of his life. After graduation from TASIS, Shepard briefly attended Catawba College in Salisbury, North Carolina. After leaving Catawba he moved to Raleigh, North Carolina, and then returned to Casper, where he enrolled in Casper College, the local community college. He briefly moved to Denver, Colorado, before deciding to enter the Universty of Wyoming in Laramie, his parents' alma mater. He was admitted for the 1998-1999 school year to the University of Wyoming.

It was while living in Laramie on the evening of October 6, 1998 that Shepard crossed paths with Aaron McKinney and Russell Henderson at the Fireside Lounge. McKinney and Henderson later drove him to a location outside Laramie, where they tied Shepard to a split-rail fence, robbed, and beat him senseless with the butt of a Smith & Wesson .357 Magnum revolver. After beating him they stole his shoes and left him in the near-freezing temperatures.

Shepard was discovered 18 hours later by Aaron Kreifels. He was first transported to Ivinson Hospital in Laramie, and upon the discovery of the severity of his injuries he was transferred to the Poudre Valley Hospital in Fort Collins, Colorado. His parents immediately flew from Saudi Arabia and were with him when he died in the early morning hours of October 12, 1998.

McKinney and Henderson were arrested and charged. They maintained what is known as a "gay panic defense" claiming Shepard had made sexual overtures to one or both of them. This was ultimately not allowed. Henderson pleaded guilty to the charges of felony murder and kidnapping. McKinney went to trial also facing charges of felony murder and kidnapping. When found guilty, McKinney faced the possibility of the death penalty, but upon the Shepard family's request he received two consecutive life sentences, as had Henderson.

The death of Matthew on October 12, 1998 resulted in an unprecedented national and international outpouring of sympathy and reflection from the public at large. Cards, letters, and donations to what became the Matthew Shepard Foundation were received from not only the United States but the world. The response was overwhelming, many writing, "to express their concern and sorrow about what had happened to Matt and to us as his parents," in the words of Dennis Shepard. Shepard's Celebration of Life was held at the family's home church, St. Mark's Episcopal, in Casper, Wyoming. Fred Phelps and the Westboro Baptist Church picketed the funeral.

Over a ten-year period, Judy Shepard and the Matthew Shepard Foundation fought for national hate crime legislation. It was not until 2009 that Congress passed The Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act, also known as the Matthew Shepard Act, on October 22. President Barack Obama signed the act into law on October 28. The Foundation continues to this day bringing good from evil, empowering individuals, ". . . to embrace human dignity and diversity through outreach, advocacy and resource programs," and, ". . . to replace hate with understanding, compassion and acceptance."

Shepard's ashes were inurned at the Washington National Cathedral in October 2018.

Source

Shepard, Judy. The Meaning of Matthew, My Son's Murder in Laramie and a World Transformed. New York, New York: Hudson Street Press, 2009.

Matthew Shepard Papers, Archives Center, National Museum of American History, Smithsonian Institution.

St. Mark's Episcopal Church website: http://stmarks.diowy.org/ accessed August 2018.

Matthew Shepard Foundation website: https://www.matthewshepard.org/ accessed August 2018.
Separated Materials:
Objects relating to Matthew Shepard are held in the Division of Medicine and Science.
Provenance:
Collection donated by Dennis and Judy Shepard in 2018.
Restrictions:
Collection is open for research.
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.
Topic:
Hate crimes  Search this
Gay youth  Search this
Homosexuality  Search this
Lesbian and gay experience  Search this
Victims of hate crimes  Search this
Travel -- Europe  Search this
Funeral rites and ceremonies -- 1990-2000  Search this
Foundations  Search this
LGBT  Search this
Genre/Form:
Theater programs -- 1910-1990
Travel brochures
Travel journals
Correspondence -- 1970-2000
Citation:
Matthew Shepard Papers, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1463
See more items in:
Matthew Shepard Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c35d7060-3f0d-48c8-b53f-df444c6ac364
EDAN-URL:
ead_collection:sova-nmah-ac-1463
Online Media:

Nancy Spero in the NYC Subway

Creator:
Sosa, Irene  Search this
Spero, Nancy, 1926-2009  Search this
Type:
Videorecording
Date:
2002 July 22
Citation:
Irene Sosa and Nancy Spero. Nancy Spero in the NYC Subway, 2002 July 22. Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA)25895
See more items in:
Nancy Spero papers, 1940s-2009
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_25895

Freedomways Vol. 13 No. 3

Published by:
Freedomways Associates, Inc., American, 1961 - 1985  Search this
Edited by:
John Henrik Clarke, American, 1915 - 1998  Search this
Ernest D. Kaiser, American, born 1916  Search this
Jack O'Dell, American, 1923 - 2019  Search this
Esther Cooper Jackson, American, born 1917  Search this
John Devine  Search this
Written by:
Ollie Harrington, American, 1912 - 1995  Search this
Mary Terrell  Search this
Charles W. Cheng, American, 1937 - 1979  Search this
Octave Lilly Jr., American, 1908 - 1975  Search this
Henri Percikow  Search this
Subject of:
Cesar E. Chavez, American, 1927 - 1993  Search this
John Brown, American, 1800 - 1859  Search this
Ngugi wa Thiong'o, Kenyan, born 1938  Search this
Indira Gandhi, Indian  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D: 9 × 6 × 5/16 in. (22.8 × 15.3 × 0.8 cm)
Type:
magazines (periodicals)
Place printed:
New York City, New York, United States, North and Central America
Place depicted:
India, Asia
South Africa, Africa
Date:
1973
Topic:
African American  Search this
Activism  Search this
Africa  Search this
Black Press  Search this
Civil Rights  Search this
Education  Search this
International affairs  Search this
Labor  Search this
Literature  Search this
Poetry  Search this
Politics  Search this
Race discrimination  Search this
U.S. History, 1961-1969  Search this
U.S. History, 1969-2001  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dr. Maurice Jackson
Object number:
2021.20.15
Restrictions & Rights:
Unknown – Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Movement:
American Indian Movements
Chicano Movement / El Movimiento
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd564416cfb-d1a8-45ac-b4d5-a8be36216519
EDAN-URL:
edanmdm:nmaahc_2021.20.15
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>Freedomways Vol. 13 No. 3</I> digital asset number 1

An Ear to the Sounds of Our History

Artist:
Sevareid, Eric, 1912-1992  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Type:
Archival materials
Phonograph records
Date:
1974
Contents:
World War II --Other wars --Indochina war --Assassinations -- Hemingway obituary --Murrow on McCarthy --Andrea Doria -- Civil rights march --Election & politics --Apollo 11.
Local Numbers:
FW-ASCH-LP-3070

Columbia.12345
Publication, Distribution, Etc. (Imprint):
New York Columbia 1974
General:
Program notes on container by Eric Sevareid. Credits: Produced by Charles R. Reeves & Peter Wells ; executive producer, Emerson Stone. Performer(s): Narrated by Eric Sevareid. Production notes: Excerpts from a 30-part documentary originally broadcast on the CBS Radio Network on Sept. 22-23, 1973.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
United States -- History  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-LP-3070
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5e8306152-6b3e-4f9f-9616-a5f65664ae2a
EDAN-URL:
ead_component:sova-cfch-asch-ref17606

Acetate Dubs: Woody Guthrie, Lead Belly, Pete Seeger, Others

Recorder:
Asch, Moses  Search this
Performer:
Asch, Moses  Search this
Hawes, Butch, 1919-1971  Search this
Guthrie, Woody, 1912-1967  Search this
Houston, Cisco  Search this
Terry, Sonny  Search this
McGhee, Brownie, 1915-1996  Search this
Leadbelly, 1885-1949  Search this
Eskin, Sam  Search this
Bonyun, Bill  Search this
McClintock, Harry K. (Harry Kirby), 1882-1957.  Search this
Seeger, Pete, 1919-2014  Search this
Singer, Fernando  Search this
Hawes, Bess Lomax, 1921-2009  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound disc (digital, 4 3/4 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Jews  Search this
Type:
Archival materials
Sound discs
Place:
United States
New York
Oklahoma
Louisiana
California
Contents:
1. ACT-021-101 Woody Guthrie "Jackhammer Blues" 2. ACT-021-102 Woody Guthrie "If I Lose" 3. ACT-021-103 Woody Guthrie "What Did the Deep Sea Say" 4. ACT-022-101 Woody Guthrie "Boll Weevil Song" 5. ACT-022-102 Woody Guthrie "Guitar Piece" 6. ACT-025-101 Woody Guthrie, Cisco Houston "Philadelphia Lawyer" 7. ACT-025-102 Lead Belly "Outskirts of Town" 8. ACT-026-101 Woody Guthrie "This Land is Your Land" 9. ACT-026-102 Sam Eskin "Lumberman's Alphabet" (3 takes) 12.ACT-026-105 Bill Bonyun "Down the Hatch"" 13. ACT-026-106 Haywire Mac (Harry McClintock) "Jerry, Go and Ile that Car" 14. ACT-026-107 Pete Seeger "Young Man Who Wouldn't Hoe Corn" 15. ACT-026-108 Woody Guthrie "Talking Columbia" 16. ACT-026-109 Cisco Houston ":Old Blue" 17. ACT-026-110 Cisco Houston "Dark as a Dungeon" 18. ACT-026-111 Cisco Houston "Whoopee Ti-Yi-Yo Get Along Little Dogies" 19. ACT-026-112 Lead Belly "Old Man" 20. ACT-026-113 Lead Belly "Haul Away Joe" 21. ACT-026-114 Lead Belly "Haul Away Joe" 22. ACT-027-101 Folk Group "Down in the Valley" 23. ACT-027-102 Folk Group "Down in the Valley" 24. ACT-027-103 Folk Group "Polly Wolly Doodle" 25. ACT-027-104 Moses Asch Reading a Newspaper 27.ACT-028-101 Sonny Terry "Harmonica Breakdown" 28. ACT-028-102 Woody Guthrie, Cisco Houston, Sonny Terry "Ida Red" 29. ACT-028-103 Woody Guthrie, Cisco Houston "Whoopee Ti-Yi Yo Get Along Little Dogies"
Track Information:
101 Jackhammer John (ACT-0021) / Woody Guthrie. Guitar.

102 If I Lose (ACT-0021) / Woody Guthrie, Cisco Houston, Sonny Terry. Guitar.

103 What Did the Deep Sea Say? (ACT-0021) / Woody Guthrie, Cisco Houston, Sonny Terry. Guitar.

104 Boll Weevil (ACT-0022) / Woody Guthrie, Cisco Houston, Sonny Terry. Guitar,Harmonica.

105 Guitar Instrumental (ACT-0022) / Brownie McGhee. Guitar.

103 When That Great Ship Went Down (ACT-0021) / Woody Guthrie, Cisco Houston, Sonny Terry. Guitar.

106 Philadelphia Lawyer (Reno Blues)(ACT-0025) / Woody Guthrie, Cisco Houston. Guitar.

107 Outskirts of Town (ACT-0025) / Sonny Terry, Lead Belly. Guitar,Harmonica.

108 This Land is Your Land (ACT-0026) / Woody Guthrie. Guitar.

109 Lumberman's Alphabet (ACT-0026) / Sam Eskin. Guitar.

112 Down the Hatch (ACT-0026) / Bill Bonyun. Guitar.

113 Jerry Go and Ile That Car (ACT-0026) / Harry K. (Harry Kirby) McClintock. Guitar.

114 Young Man Who Wouldn't Hoe Corn, The (ACT-0026) / Pete Seeger. Banjo.

115 Talking Columbia (ACT-0026) / Woody Guthrie. Guitar.

116 Old Blue (ACT-0026) / Cisco Houston. Guitar.

118 Whoopie Ti-Yi-Yo, Get Along Little Dogies (ACT-0026) / Cisco Houston. Guitar.

119 Old Man (ACT-0026) / Lead Belly. Guitar.

120 Haul Away Joe (ACT-0026) / Lead Belly. Guitar.

117 Dark as the Dungeon (ACT-0026) / Cisco Houston. Guitar.

122 Down in the Valley (ACT-0027) / Fernando Singer. Guitar.

124 Polly Wolly Doodle (ACT-0027) / Bess Lomax Hawes, Butch Hawes. Guitar,Mandolin.

125 Moses Asch Reading Newspaper (ACT-0027) / Moses Asch.

127 Harmonica Breakdown (ACT-0028) / Woody Guthrie, Sonny Terry. Harmonica.

128 Ida Red (ACT-0028) / Woody Guthrie, Cisco Houston. Guitar,Harmonica.

129 Whoopie Ti-Yi-Yi-Yo, Get Along Little Dogies (ACT-0028) / Woody Guthrie, Cisco Houston, Sonny Terry. Guitar.
Local Numbers:
FP-CDR-0073
Date/Time and Place of an Event Note:
Recorded in: New York, United States, 1940.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk songs -- United States  Search this
Folksong revival  Search this
Blues (Music)  Search this
Music -- Juvenile  Search this
Documentary  Search this
Oral history  Search this
Guitar  Search this
Harmonica  Search this
Banjo  Search this
Mandolin  Search this
Dogs  Search this
African Americans  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FP-CDR-0073
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5edf69680-980e-49b4-ac1b-6ac367af920b
EDAN-URL:
ead_component:sova-cfch-asch-ref28595

"Marching into Charleston" sketch in The True Story of Glory Continues

Physical Description:
paper (overall material)
graphite (overall material)
paint (overall material)
Measurements:
overall: 17 1/8 in x 22 3/8 in; 43.4975 cm x 56.8325 cm
Object Name:
sketch
Subject:
Motion Pictures  Search this
Civil War  Search this
Movie  Search this
Motion Pictures  Search this
Credit Line:
Paul Culberg
ID Number:
1991.0279.18
Accession number:
1991.0279
Catalog number:
1991.0279.18
See more items in:
Culture and the Arts: Entertainment
Popular Entertainment
Movies
Movie Collection
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-0e61-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1460254

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