Collection documents the life and career of Anthony Moreno, graphic artist and designer.

This collection contains 180 black-and-white acetate negatives and 71 gelatin silver prints taken by American artist Hortense Ferne. The images depict scenes of everyday life in the Mexican states of Oaxaca, Puebla, Morales, Guerrero and the Federal District, as well as the Teotihuacán archaeological site. A few images of San Jose Mission and the Alamo in San Antonio, Texas, are also present.

This accession consists of records documenting research, planning, design, execution, and installation of exhibitions during the tenure of David Revere McFadden, Curator, 1978-1993; Deborah Shinn, Curator-in-Charge, 1995-1996, and Assistant Curator, 1997-2002; and Sarah Coffin, Curator, 2004- . Exhibitions documented in this accession include ...

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Tapes document Jules Olitski and Mark Golden delivering a lecture entitled "The Artist's View: Color, Technology, and Style in Postwar Art" as part of the Color Symposium held in the Museum Nov. 11-Nov. 16, 1997, in the Lemelson Center's New Perspectives series. Harry Rand served as moderator.

The photographs include an image of Jack Moore, a Pima dancer, with the American flag painted on his face; a portrait of the dancer Kevin Haywahe (Assiniboine) wearing a wolf-hide and feather headdress with beaded sun wheel medallion and beaded appendage, elaborate face painting, pipe bead necklace and elaborately beaded breast ornament; an outdoor view of a young boy posed beside grafitti that reads "Cultural Revolution"; a young man standing in front of a grain elevator and wearing a t-shirt with an image of Christopher Columbus and the caption "Founder of the New World"; and a triptych documenting the urban Onondaga Iroquois experience in Ottawa, Ontario.

This accession consists of records created and maintained by John Tyler, Audio Production Manager, documenting the planning, development, execution, and distribution of original radio series and programs as well as of recordings of special events and concert series. Radio series include "Black Radio: Telling It Like It Was;" "Folk masters;" ...

The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.