This accession consists of laserdiscs created by the Exhibits Media Office for use in exhibitions. Exhibitions include "All Roads Are Good: Native Voices on Life and Culture;" "Ancestral Memories: A Tribute to Native American Survival;" "The Art of Being Kuna: Layers of Meaning Among the Kuna of Panama;" "Memory and Imagination: The Legacy ...

This accession consists of audiovisual recordings created for exhibitions as well as recordings of performances, conferences, or lectures done in conjunction with exhibitions. Exhibitions documented include: "Pathways of Tradition: Indian Insights into Indian Worlds;" "Woven by the Grandmothers: Nineteenth-Century Navajo Textiles from the Nati...

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 ...

Photographs made by Carol F. Jopling documenting the Kuna, Choco, and Guaymi Indians of Panama, as well as the Panama Canal and scenery. Jopling's photographs depict Choco and Kuna dwellings (including their construction), Choco people waiting to receive vaccinations from Navy personnel, agriculture (including coconut harvesting), boats in the Pana...

The Peter Hopkins papers measure 2.4 linear feet and date from 1823-2001, with the bulk of the materials dating from 1935-1994. Writings, letters and diaries make up most of the collection. Printed materials relate to exhibitions of Hopkins' artwork and theatrical performances of his wife, Gertrude Beach Hopkins. There also are writings by both Hopkins and his wife that appeared in the Christian Science Monitor. Of particular interest is a group of vintage family photographs and family papers dating from the 19th century, as well as diaries Hopkins kept while traveling and working in a mental hospital in inland China in the mid 1930s.

The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.

The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.

The papers of LeRoy Neiman measure approximately 70.5 linear feet and date from 1938-2005. The collection includes biographical materials, correspondence, project files, printed material and artifacts documenting the career of the American painter LeRoy Neiman.

The papers of art historian and educator John McDonald Moore measure 21.5 linear feet and date from 1948-2015, with the bulk dating from 1968-1999. Included are biographical material regarding Moore; his writings, including book proposals and lectures; correspondence regarding teaching and letters from students; voluminous notecards for lectures; and sound recordings of lectures.

This collection consists of 316 35mm color slides, 67 color photocopies, 12 exhibition labels, 2 catalog booklets, and 1 audio cassette representing the lives, culture, and arts of the Guna peoples of the Guna Yala Indigenous Territory (formerly San Blas), Panama. The photographs were taken by Edward L. Mattil during visits between 1973 and 1977, and depict Guna people in their daily lives, as well as a wide variety of mola textiles that they had made.