The Beatrice Medicine papers, 1913-2003 (bulk 1945-2003), document the professional life of Dr. Beatrice "Bea" Medicine (1923-2005), a member of the Standing Rock Sioux tribe, anthropologist, scholar, educator, and Native rights activist. The collection also contains material collected by or given to Medicine to further her research and activism interests. Medicine, whose Lakota name was Hinsha Waste Agli Win, or "Returns Victorious with a Red Horse Woman," focused her research on a variety of topics affecting the Native American community: 1) mental health, 2) women's issues, 3) bilingual education, 4) alcohol and drug use, 5) ethno-methodologies and research needs of Native Americans, and 6) Children and identity issues. The collection represents Medicine's work as an educator for universities and colleges in the United States and in Canada, for which she taught Native American Studies courses. Additionally, because of the large amount of research material and Medicine's correspondence with elected U.S. officials and Native American leaders, and records from Medicine's involvement in Native American organizations, the collection serves to represent issues affecting Native Americans during the second half of the 20th century, and reflects what Native American leaders and organizations did to navigate and mitigate those issues. Collection materials include correspondence; committee, conference, and teaching material; ephemera; manuscripts and poetry; maps; notes; periodicals; photographs; training material; and transcripts.

The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs.

The papers of painter and educator Nora Chapa Mendoza measure 4.1 linear feet and 1.78 gigabytes, and date from circa 1963-2013. Biographical material includes résumés and awards, as well as other miscellaneous biographical material. Correspondence is mostly professional in nature and reflects her relationships with artists galleries and other professional organizations throughout her career, incl. Personal business records document select exhibitions and relationships with galleries such as the Partners Gallery, and include artwork inventories, consignments, and pricelists. Project files document specific projects including commissions and educational initiatives, as well as key conferences related to international labor relations and indigenous civil rights. Writings include artist statements, lectures and notes and sketches. Printed material documents the career of Nora Chapa Mendoza as well as and the art and Hispanic cultural scenes in Detroit in the form of announcements, clippings, catalogs, magazines and books. Photographic material documents various exhibitions, workshops, conferences, and trips.

This accession consists of records that document the activities which the Office of Quincentenary Programs coordinated or organized to mark the 500th anniversary of Christopher Columbus's first landfall in the Americas on October 12, 1492. The Quincentenary programs began in 1985 under the coordination of Smithsonian's Directorate of Inte...

This accession consists of records produced by Judith Zilczer, Curator of Painting at the Hirshhorn Museum and Sculpture Garden (HMSG), which primarily document planning for the Richard Lindner and Sean Scully exhibitions at HMSG. Also included are Zilczer's curatorial files pertaining to research on HMSG collections, as well as papers from ...

The papers of performance artist and educator Roberto Sifuentes measure 4.3 linear feet and date from circa 1988 to 2006. The collection documents Sifuentes' work as a professional artist and educator through biographical material and interviews; correspondence including emails; project files including project descriptions, documentation of individual productions, audio and video recordings, and components of works for multimedia projects; conference files documenting symposia and conference participation; articles, versions of performance scripts, and other writings; printed material including press clippings, promotional press packets, and source material; as well as photographic material documenting performances and social events.

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.

This collection documents Kauffer's work as a theater designer, and graphic designer from 1915-1954.The collection includes allusions to correspondences between Kauffer in America to T.S. Eliot (1888-1965) in London, between 1930 and 1955. (There are no letters between the two men in the collection.) Although Kauffer and Eliot were to become friends after 24 July 1930, they were professionally related before that time. Kauffer illustrated the Ariel edition of Eliot's "Marina." Kauffer and Eliot met in London. In the collection are also posters of Kauffer's works, biographical pieces, and obituaries as well as photographs of the artist.

The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.

The papers of artist Isabella Howland measure 1.2 linear feet and date from 1899-1979. The collection documents her career through biographical material, correspondence, personal business records, writings, printed material, artwork, and photographs.