These records consist of professional correspondence and administrative and research files of a number of curators from the Department of Painting and Sculpture. Included are correspondence and memoranda with HMSG staff, artists, galleries, and other museums; loan agreements, checklists, scripts, and installation plans for HMSG exhibitions; biographical information on, and …
Ed Clark papers
The papers of African American abstract expressionist painter Ed Clark measure 8.9 linear feet and date from 1923 to 2017. The collection documents Clark's work as a professional artist through biographical material; correspondence with family, galleries, and friends, most notably Cinque Gallery, Herbert Gentry, Bill Hutson, and Ted Joans; writings, including documentation for the book Edward Clark: For the Sake of the Search; personal business records, including consignment and sales records; and material related to professional activities, including files on significant exhibitions and projects, gallery files, and teaching records. Also in the collection are exhibition announcements, catalogs, news clippings, and other printed material documenting Clark's work; photographic material depicting Ed Clark, his artwork, and other individuals; and a small amount of original artwork by Clark and others.
Albert Christ-Janer papers
The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.
Joyce J. Scott papers
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce J. Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s, and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Howard W. and Jean Lipman papers
The Howard W. and Jean Lipman papers measure 46.6 linear feet and span the years 1916 to 2000, with one brochure maintained in a research file dating to 1848. The bulk dates for the collection are 1932 to 1992. The papers primarily concern the art collecting activities and interests of the Lipmans which included modern American sculpture, American folk art, and other contemporary American paintings. Found within the papers are correspondence files, notes and printed material that served as research and reference material, along with financial material. The collection also contains writings, notes, and editorial material used by Jean Lipman in her dual roles as an editor for Art in America magazine and as a respected art critic and author.
Bobby Tucker Papers
Jones, Quincy, 1933-
The collection documents the life and musical career of Robert "Bobby" Tucker. The collection particularly emphasizes Tucker's close collaboration with Billy Eckstine over a forty-year period from approximately 1949-1990, and includes original orchestrations of arrangements by Tucker and other arrangers, a complete set of commercial recordings by Eckstine for which Tucker served as arranger, and ephemeral material including photographs, concert programs and news clippings.
René d'Harnoncourt papers
The papers of Austrian born curator, lecturer, and museum director, René d'Harnoncourt (1901-1968), document d'Harnoncourt's activities, primarily in the 1930s and 1940s, particularly as they relate to Mexican and Native American art. D'Harnoncourt's career, including his arrival in Mexico in 1925, his curation of the exhibitions, Mexican Art (1930-1932), and Indian Art of the United States (1941), and his work for the Department of the Interior's Indian Arts and Crafts Board from 1937-1944, are documented in small amounts of biographical material and correspondence, published writings, printed material, scrapbooks, photographs of d'Harnoncourt and colleagues, and photographs of works of art. The collection also contains a drawing of d'Harnoncourt, and photocopies of caricatures of d'Harnoncourt and others.
Lowell Darling papers
The papers of conceptual and performance artist Lowell Darling measure 4.6 linear feet and 6.32 GB and date from 1945 to 2012. The collection contains biographical material primarily in the form of address books and contact lists; correspondence; project files for works of art and performances including files and artifacts related to Darling's 1978 gubernatorial campaign; printed material, including a clippings portfolio; photographic material; and artwork, including sketches, collages, and stamps.
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival
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.
Senga Nengudi papers
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.