An interview of Senga Nengudi conducted 2013 July 9-11, by Elissa Auther, for the Archives of American Art's, Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists, at the University of Colorado and at RedLine Denver in Denver, Colorado.

The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger; and audio and video recordings, including recordings of performances.

These records document the conceptualization, development, design, and execution of several exhibitions held by the Cooper-Hewitt Museum from 1973 through 1992, and of exhibitions rejected or cancelled by the museum. Exhibition files include proposals; research files; correspondence with object lenders, scholars, and exhibition designers; ...

The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.

The Frank Stella papers measure 12.4 linear feet and date from 1941 to 1993, with the bulk of the records spanning the period 1978 to 1989. The collection documents the professional and personal life of abstract artist, Frank Stella. Among the papers are correspondence, a small cache of records from his years as an undergraduate at Princeton University, writings by and about Stella, interview transcripts, sketchbooks, registers and inventories, financial records, printed matter, and photographs.

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.

The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.

This collection, with bulk dates from 1950-1994, documents the life of Ralph Rinzler and his professional activities as Director of Field Programs for the Newport Folk Festival, Director of the Smithsonian Folklife Festival (formerly the Festival of American Folklife) and the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage), and the Smithsonian Institution's Assistant Secretary for Public Service. Includes personal papers, business records, correspondence, notes, photographs, audiotapes and field recordings.

This accession consists of materials related to the development, research, and production of exhibitions at the National Museum of the American Indian (NMAI), both at the Mall museum site and at the George Gustav Heye Center (GGHC) in New York, New York. Exhibitions covered include The Art of Being Kuna: Layers of Meaning Among the Kuna o...

The Society for the History of Technology Records (SHOT) consists of documents relating to SHOT from its inception in 1958- [0ngoing]. The collection is divided into two subgroups: Subgroup I, General Records, 1956-2009 which consist of papers generated and received by Melvin Kranzberg in his various roles as an officer of SHOT, as well as papers of other SHOT officers. Subgroup II,Technology and Culture Records, 1958-2009, consists of documents relating to the Society's journal, Technology and Culture. T & C is a quarterly publication containing articles of interest to and written by historians and students of technology. The records consist of material generated by Melvin Kranzberg in his role as founding editor-in-chief (1959-1981), first at Case Western Reserve and later at Georgia Institute of Technology, and was succeeded at the National Museum of American History by Robert Post (1981-1996) whose editorial assistants were Brooke Hindle, Helena Wright, Jeffrey Stine, Art Molella and Joan Mentzer. When the museum ended its support of the journal, it moved to the Henry Ford under the editorship of John Staudenmaier (1996-2010) and after that to the University of Oklahoma under the editorship of Suzanne Moon (2010-2020).