The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.

These records provide documentation of the creation and preparation of exhibits for the most important period in the history of the National Air and Space Museum (NASM) - the planning, fabrication, and installation of two dozen major galleries for the new museum building, which opened in 1976. Also included is material on exhibits in the ...

This accession consists of records that document the history and activities of Heritage Preservation from its very beginnings as the National Conservation Advisory Council and the National Institute for the Conservation of Cultural Property. Among those areas documented include board meetings, workshops, the SOS! program, conservation awa...

The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.

This accession consists of records documenting Twitter accounts maintained throughout the Smithsonian Institution (SI). Twitter is a third-party site used for public micro-blogging by SI staff. In addition to general SI-wide accounts, many of which are managed by the Office of Public Affairs, the accession documents the accounts of the Sm...

This accession consists of the records of Shirley E. Cherkasky, who served as Coordinator of Performance Programs at the National Museum of American History (NMAH), Department of Public Programs, from 1983 to 1995. Also includes records that date back to when Cherkasky was Director of Museum Programs in the Division of Performing Arts, 19...

The papers of California jewelry designer Margaret De Patta measure 3.7 linear feet and date from circa 1930 to 2012. The papers include correspondence, writings, teaching files, exhibition files, personal business records, printed material, artwork and sketchbooks, and photographs.

The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.

F.C. Brown was a physicist and inventor who created and supervised the development of education exhibits, most notably as organizing director of the New York Museum of Science and Industry (part of the Museums of the Peaceful Arts), 1926-1931. He was also curator of physics exhibits at Chicago's Museum of Science and Industry, 1932-1937. Much of Brown's scientific research focused on the element selenium. He invented the phonopticon, an improvement on the optophone (invented by Fournier d'Albe, 1912). Material focuses on Dr. Brown's professional life: correspondence, photographs, photo albums, scrapbooks, and ephemera from the positions he held and research he conducted. Very little personal information is included.

The papers of New York painter William Clutz measure 3.1 linear feet and date from 1930-2016. The collection consists of biographical material, correspondence, personal business records, printed material, photographic material, artworks, and twelve sketchbooks which illuminate the career and artistic development of Clutz, a painter known for depictions of figures in urban settings. The photographic material is particularly robust and includes hundreds of photographs, slides, transparencies, and digital images of Clutz, family, friends, his painting, as well as documentation of exhibition installations. Artwork and sketchbooks in pencil, pastel, and charcoal provide a glimpse into the preliminary stages of his work process.