This accession consists of audiovisual elements created during the production of video to accompany the National Museum of African Art exhibition "The Poetics of Line: Seven Artists of the Nsukka Group, Nigeria." Materials include masters, edited masters, color corrected masters, clones, and related materials on videotape. Some materials ...

The collection dates from 1900 to 1997 and mostly includes images taken in South Africa. The images document the peoples of South Africa, particularly the Loved, Ndebele, San, Sotho, Xhosa, and Zulu peoples. Locations photographed include Basutoland (now Lesotho), Bechuanaland (now Botswana), Johannesburg, Natal, Pretoria, Soweto, Swaziland, Transkei, Transvaal, the Umzimkulu Valley and Zululand. Manuscript and office files include clippings, correspondence, exhibition announcements, invitations and reviews, notes, essays, receipts, and other materials that document Larrabee's career, family history, and personal life.

The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.

The collection, which dates from 1961 to 2004 and measures 11.16 linear feet, documents the career of artist, curator, and museum technician Edith T. Martin. The papers in the collection include education documents, professional correspondence, sketches, promotional material, news clippings, newsletters, catalogues/magazines from exhibits and arts organizations, and exhibit photographs and slides.

The papers of sculptor and educator Marianna Pineda (1925-1996) date from 1943-1998 and measure 3.7 linear feet. The collection documents Pineda's career through biographical material, correspondence, exhibition files, project files, personal business records, printed material, photographs, and some audiovisual material.

The papers of arts administrator Mildred Baker measure 2.7 linear feet and date from 1882 to 1997, with the bulk of the material dating from 1923 to 1997. Found within the papers are biographical materials; personal and professional correspondence; writings; files related to her work on the WPA Federal Art Project and other institutional art projects; printed material; photographs of Baker; and photographs and papers related to the work of her husband, Jacob Baker, who also administered programs for the WPA.

The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.

The Carlen Galleries, Inc., records measure 10.4 linear feet (gift portions) and date from 1775 to 1997 (bulk 1940-1986). Correspondence, business records, subject files, a scrapbook, printed matter, and photographs document the operation and activities of Carlen Galleries, Inc., and its founder Robert Carlen.

Exhibition documents (1970-1989) collected by the National Museum of African Art, Smithsonian Institution, to support the research of the museum's curators.

The papers of African American artist and educator Jeff Donaldson measure 12.5 linear feet and 0.003 GB and date from 1918 to 2005, with the bulk of the records dating from the 1960s to 2005. The collection documents Donaldson's work as a professional artist, his academic career at Howard University, and his leadership role in the Black Arts Movement through biographical material, a small amount of professional and personal correspondence, personal business records, writings by Donaldson and others, research files, artist files, sound recordings of interviews Donaldson conducted with over 40 artists, teaching files, exhibition files, printed and digital material, and photographs. Also found are detailed records of his professional activities and leadership roles in AfriCOBRA, CONFABA, FESTAC, and the Organization of Black American Culture (OBAC), including documentation on the Wall of Respect mural.