The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biograpical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.

The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The majority of the collection consists of Penney's art collection files, which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.

The papers of contemporary art collectors Dorothy and Herbert Vogel measure 47.5 linear feet and date from the 1960s to 2009. Found is scattered general correspondence, artists' files, subject files, business records, and printed material relating to the Vogel Collection. Artists' and subject files create the bulk of the collection, the majority of which is printed material but includes some correspondence from artists.

The records of the Los Angeles Institute of Contemporary Art measure 18 linear feet, date from 1973 to 1988, and document the brief thirteen-year history of LAICA's activities as a Southern California visual arts organization and exhibition space for contemporary art. Records detail the founding of the organization, operations and administration, exhibitions, events, and publications. More than half of the collection is comprised of exhibition, program, and event files that include correspondence with artists, curators, and others; printed materials; and photographs, negatives, and slides.

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 accession consists of records documenting outgoing loan requests denied or withdrawn. Materials include correspondence, loan request forms, and black and white photographs.

The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

The records of the Washington Gallery of Modern Art measure 15.7 linear feet and 0.523 GB and date from 1959 to 1992. The records document the history of the gallery through Board of Directors meeting minutes, various committee meetings minutes and agendas, bylaws, and other trustee records; correspondence and other materials associated with each of the four gallery directors over the course of the gallery's existence; general correspondence; exhibition files, proposed exhibitions, collection files, and other curatorial and registrar records; financial records; development and membership records; tour guide information, gift shop finances and orders, and other museum services; and clippings, catalogs, and other printed and digital material.

Edmund Snow Carpenter (1922-2011) was an archaeologist and visual anthropologist who worked extensively with the indigenous peoples of the Canadian Arctic as well as Papua New Guinea. With his colleague and close collaborator Marshall McLuhan (1911-1980), he laid the groundwork for modern media theory. Carpenter is also known for his work as an ethnographic filmmaker and as a collector of Paleo-Eskimo art. The Papers of Edmund Carpenter, circa 1938-2011, document the research interests and projects undertaken by Carpenter in the fields of cultural anthropology, ethnographic filmmaking, media theory, archaeology, and indigenous art.

Films, videos, tape recordings, and slides on fashion and clothing.