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Creators:
Davidovich, Jaime, 1936-2016
Dates:
1949-2014
Size:
2.3 Linear feet
Collection ID:
AAA.davijaim
Repository:
Archives of American Art

The papers of New York-based, Argentinian born conceptual and performance artist Jaime Davidovich, measure 2.3 linear feet and date from 1949 to 2014. The collection document's Davidovich's transition from Argentina to the United States, his early artistic career in both countries, specific projects and exhibitions, and the way in which Davidovich's work intersected with audiovisual media and the New York avant-garde in the 1960s and 1970s. Papers include biographical materials, correspondence, writings including memoirs, exhibition and project files, scrapbooks, and printed materials.

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Creators:
Feinblum, Sandi
Fauci, Anthony S.
Fera, Joe
Feldblum, Chai R.
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Dates:
1901-2016
bulk 1995-1999
Size:
10.2 Cubic feet (32 boxes)
Collection ID:
NMAH.AC.1128
Repository:
Archives Center, National Museum of American History

John-Manuel Andriote interviewed numerous individuals involved in the AIDS crisis for his book, Victory Deferred: how AIDS changed gay life in America, this collection contains his interview tapes, transcripts, and materials related to the research, writing, and update of his book. It also contains interview transcripts for Andriote's later book, Stonewall Strong.

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Creators:
Ottenberg, Simon
Dates:
1951-1953
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.2000-007
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from December 1951 to March 1953.

Original title reads, "Farmland scenes, cassava (manioc) plants growing on ohia nnono land. Cassava grows most any time of the year. It is now dry season." [Ottenberg field research notes, O Series, December 1951-March 1953].

"For the farming groups at Afikpo, yams, the principal crop, are grown almost exclusively by men, while females raise cassava, coco yam, corn, and many other forms of vegetables. The work is hard, for Afikpo is not a rich farming area, with its sandy soil and sandstone ridges. Farming activities depend upon a four-day week. Orie is a farm day. The ...

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Creators:
Archipenko, Alexander, 1887-1964
Dates:
1904-1986
bulk 1930-1964
Size:
19.5 Linear feet
Collection ID:
AAA.archalex
Repository:
Archives of American Art

The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.

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Creators:
Avery, Milton, 1885-1965
Dates:
1926-1982
bulk 1950-1982
Size:
2.8 Linear feet
Collection ID:
AAA.avermilt
Repository:
Archives of American Art

The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.

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Dates:
1900-1964
bulk 1950-1964
Level:
subseries
Collection ID:
AAA.mccaeliz
Repository:
Archives of American Art

Subseries consists of correspondence and other files concerning more technical or business-related aspects of McCausland's research, including requests for information, business arrangements with University of Minnesota, permissions, etc. Correspondence also concerns research on Hartley's time in Garmisch-Partenkirchen and aspects of his life and w...

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Creators:
Federal Art Project (Va.)
Dates:
1931-1963
Size:
10.5 Linear feet ((on partial microfilm reel))
0.6 Linear feet (Reel NDA 2: (on partial microfilm reel))
Collection ID:
AAA.fedeartp11
Repository:
Archives of American Art

Unmicrofilmed material: Correspondence of Adele Clark, Thomas Parker, and Thomas Singleton; minutes of meetings time sheets and monthly reports; subject files on various FAP projects; photographs; and prints, watercolors, and sketches done by FAP artists. Most of the records relate to the Academy of Sciences and Fine Arts in Richmond, Va., the Big ...

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Creators:
Collier, Oscar, 1924-
Dates:
1945-1947
Size:
16 Items ((on partial microfilm reel))
Collection ID:
AAA.collosca
Repository:
Archives of American Art

Printed material and photographs relating to New York painter Oscar Collier and his circle of "Indian Space" painters.

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Creators:
Ottenberg, Simon
Dates:
1959-1960
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.2000-007
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.

Original caption reads, "Otero masqueraders in Ezi Nwachi compound, Ndibe Village. Dried banana leaves, net fiber face mask, ikpo metal bell, akpoto rope tied around waist, ashes or charcoal rubbed on their bodies, a stick, which use in chasing girls and women. Not part of Njenje masked parade but appearing about the same time." [Ottenberg field re...

"There are two classes of masquerades in which direct physical action plays an important role. One of these includes masks and costumes used for social control. The other is a sport contest. Otero, the second form of the masked costumes, is seen during the dry season on nonfarming days, aho and eke, and on feast days, such as Mbe and during the Nje...

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Creators:
Ottenberg, Simon
Dates:
1959-1960
Level:
item
Size:
1 Slide (col.)
Collection ID:
EEPA.2000-007
Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art

This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.

Original caption reads, "Otero masqueraders in Ezi Nwachi compound, Ndibe Village. Dried banana leaves, net fiber face mask, ikpo metal bell, akpoto rope tied around waist, ashes or charcoal rubbed on their bodies, a stick, which use in chasing girls and women. Not part of Njenje masked parade but appearing about the same time." [Ottenberg field re...

Publication caption reads, "Otero of the secret society moving through a compound."

"There are two classes of masquerades in which direct physical action plays an important role. One of these includes masks and costumes used for social control. The other is a sport contest. Otero, the second form of the masked costumes, is seen during the dry season on nonfarming days, aho and eke, and on feast days, such as Mbe and during the Nje...