William Duncan Strong's early interest was in zoology, but, while an undergraduate at the University of California, he was brought into anthropology under the influence of Alfred Louis Kroeber. He conducted archaeological and ethnological field research in several areas of the New World and was the first professionally trained archaeologist to focus on the Great Plains, where he applied the so-called direct historical method, working from known history in interpreting archaeological sites. Strong's papers include correspondence, field notes, diaries, newspaper clippings, teaching notes and student papers, manuscripts of his writings, writings by other authors, papers from the various organizations in which he served, maps, and a considerable number of photographs from his field work. The materials date from 1902 to 1965, with most of the materials being from 1927 to 1955.

This accession consists of audiovisual recordings featuring the National Zoological Park (NZP) and its animals, staff, activities, events, research, medical procedures, and exhibitions. Some materials were created by NZP and others were created by news media and radio, television, and video production companies. Included in this accession ...

The papers document the life and activism of Grayce Uyehara who was a pivotal figure within the Redress Movement and sought reparations for the incarceration of Japanese Americans during World War II.

The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.

This collection documents the development of the Archives of American Art (AAA), chiefly the period since acquisition of AAA by the Smithsonian in 1970, though some records from its earlier history in Detroit and New York are also included. These records contain minutes, files, and correspondence of the Board of Trustees and the Advisory ...

These records were created between 1974 and 1995 by Stephen E. Weil during his tenure as Deputy Director, Hirshhorn Museum and Sculpture Garden (HMSG). The records consist of correspondence with other international and national museums and art institutions; correspondence concerning policies and legal questions raised by the public and ot...

This accession consists of records documenting outgoing loans of works of art. Materials include correspondence, requests for loans, loan agreement forms, outgoing loan receipts, bills of lading, certificates of insurance, insurance register transaction forms, images of objects, facilities reports, condition photographs, and related mater...

This accession consists of records that document the administrative and professional activities of the Hirshhorn Museum and Sculpture Garden (HMSG), Office of the Director. Materials include the correspondence and memoranda of Abram Lerner, HMSG Director from 1974-1984, and James T. Demetrion, Director 1984- . Some of the Lerner correspondence...

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 Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.