DOCSLIB.ORG

UNIVERSITY of CALIFORNIA Los Angeles the Career and Collection of Judith A. Hoffberg a Thesis Submitted in Partial Satisfaction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA Los Angeles the Career and Collection of Judith A. Hoffberg a Thesis Submitted in Partial Satisfaction UNIVERSITY OF CALIFORNIA Los Angeles The Career and Collection of Judith A. Hoffberg A thesis submitted in partial satisfaction of the requirements for the degree Master of Library & Information Science by Anthony Marcus Leslie 2012 ABSTRACT OF THE THESIS The Career and Collection of Judith A. Hoffberg by Anthony Marcus Leslie Master of Library & Information Science University of California, Los Angeles, 2012 Professor Johanna Drucker, Chair The thesis discusses the career of art librarian Judith A. Hoffberg (1934-2009), focusing on her co-founding of the Art Libraries Society of North America (ARLIS/NA), her publishing of the journal Umbrella, her artists’ books collection, her participation in an international mail art community, and her relationship to feminist print culture. Hoffberg’s career is situated within a history of artists’ publications and information networks, the alternative press, the women’s movement, and art librarianship. ii The thesis of Anthony Marcus Leslie is approved. Leah A. Lievrouw Mary Niles Maack Johanna Drucker, Committee Chair University of California, Los Angeles 2012 iii TABLE OF CONTENTS Acknowledgements v Introduction 1 A Profile of Judith A. Hoffberg: Art Librarianship, ARLIS/NA, and Umbrella 10 The Mailbox is in the Library: Correspondence Art as Information Network 40 Feminist Artists’ Books, Little Magazines, and Visual Poetry: Radical Print Media in the 1970s and 80s 75 Conclusion 113 Appendix A: Chronology 115 Appendix B: 30 Years of Umbrella, A Selected Visual History 117 Bibliography 137 iv Acknowledgments I would like to thank the extraordinary professors on my committee for their generous support, invaluable advice, and insightful readings of the material in this paper. A student writing on an artists’ book collection could not ask for a better mentor than Johanna Drucker, who challenged and inspired me at every step of the way. Mary Niles Maack’s passion for the history of librarianship guided me to the archives in search of primary source material, and Leah A. Lievrouw challenged me to think about librarianship and activism. I also must thank all of the librarians and library workers at UCLA and UCSB who assisted me and made my research possible. I want to especially thank Robert Gore at UCLA Art Library. An earlier version of the chapter “The Mailbox is in the Library: Correspondence Art as Information Network” was published in the Spring 2012 issue of the Journal of Artists’ Books (JAB). I would like to thank Brad Freeman and everyone at JAB for their support. I was also given the opportunity to present my research for this thesis at the 53rd Annual Rare Books and Manuscripts Section (RBMS) Preconference in Summer 2012. I would like to thank Jennifer Schaffner and Molly Schwartzburg for inviting me to speak there about the research value of artists’ book collections. v Introduction Judith A. Hoffberg (1934-2009) was an art librarian, archivist, bibliographer, publisher, writer, lecturer and curator who became an influential figure in the fields of artists’ books and correspondence art. She is also remembered as co-founder of the Art Libraries Society of North America (ARLIS/NA). Judith Hoffberg’s personal collection of over 6,000 artists’ books, periodicals, and catalogs is currently held at UCLA and UCSB. UCLA Special Collections also holds a large unprocessed collection of archival material related to this collection, mostly consisting of boxes of mail art and ephemera from Hoffberg’s personal archive. This study of Hoffberg, her professional activities and her collections, offers historical and theoretical contexts for materials from the collection, including an examination of the world of 1970s and 1980s correspondence art and the material traces of its communication network, as well as a look into the print culture of the feminist art movement, its expression in artists’ books, little magazines, and visual poetry. My approach to writing about Hoffberg is deliberately interdisciplinary, because I recognize her as a significant figure in both the art world and the library world, and because I also see in her collection an important history of feminist visual literature. My perspective is informed by information 1 studies, contemporary art history and criticism, and women’s studies. In the process of writing about Hoffberg, I hope to reveal something of what I have learned from her about librarianship. Although Hoffberg did not spend most of her career in traditional library settings, I do not hesitate to call her an innovative kind of librarian (although she may have preferred the term “information expert”). The active roles she assumed in the fields she specialized in, as publisher, as participant, as organizer and advocate, have important implications for librarianship. There is a trend of thought in library and information studies (LIS) which sees the work of librarians as primarily concerned with techniques of information retrieval, based on principles of objective detachment and political neutrality. In this framework, the librarian is not concerned with the intellectual content of bibliographic resources but solely with methods of accessing the informational content; the librarian is furthermore impartial in regard to the social and political implications of the material production of bibliographic resources. Of course, this viewpoint is contested in the LIS literature, and oversimplified in my summary of it here, but there is still something undeniably striking, unexpected, and refreshing about encountering a figure like Judith Hoffberg, whose level of personal involvement, both intellectual and social, in her work as an information professional made such a 2 profound impact on the fields in which she participated and engaged. I do not think we, as librarians and information workers, can adequately develop, organize, understand, and provide access to collections from positions of detachment and neutrality, and part of the knowledge needed for information work involves direct intellectual and political participation in the ideas, communities, institutions, and modes of production represented in the bibliographic universes we seek to know. LIS literature of recent years has shown a renewed interest in the writings of Jesse H. Shera, a library theorist who investigated the philosophy of librarianship and the effects of reading on culture. During the 1960s, in his regular Wilson Library Bulletin column titled “Without Reserve”, he argued for the value of the librarian as scholar, for “the appreciation of the intellectual as well as the informational values of the book[.]”1 In 1952, Shera and Margaret E. Egan, in a collaborative article for Library Quarterly, had suggested the new discipline of “social epistemology” to be studied by librarians. This would be a theory of knowledge that went beyond the individual’s relation to knowing to consider the effect of knowledge on society, and society on knowledge; in Shera and Egan’s vision of librarian as social epistemologist, the focus of study would include “analysis of the production, distribution, 1 Shera, Jesse H. “The Compleat Librarian” and Other Essays. Cleveland: Case Western Reserve University Press, 1971. 3 and utilization of intellectual products[.]”2 In later writings,3 Shera elaborated this concept of social epistemology to conceive of the library as an agency with a responsibility for social good. He writes that “if the librarian is to become an effective mediator between man [sic] and his [sic] graphic records […] librarianship must be more than a bundle of tricks, taught in a trade school, for finding a particular book[.]”4 If this idea of social knowledge seems too abstract, we might look to practices such as those outlined in Lievrouw’s discussion of networked commons knowledge as new media activism for examples of such paths.5 This concept of social knowing will also be appropriate in our discussion of mail art communities. In Habermas’s philosophical critique of positivism, Knowledge and Human Interests, he identifies an epistemological trend in modernity that he calls “scientism”, which refers to “science’s belief in itself: that is, the conviction that we can no longer understand science as one form of possible knowledge, but rather must identify knowledge with science.”6 A rigorous examination of a variety of thinkers from the philosophical tradition illustrates Habermas’s portrayal of how the progress of science came to supplant inquiries in the theory of knowledge. 2 Egan, Margaret E. and Jesse H. Shera. “Foundations of a Theory of Bibliography” Library Quarterly 22 no. 2 (April, 1952) p.133-134. 3 see Shera, Jesse H. Sociological Foundations of Librarianship. New York: Asia Publishing House, 1970. 4 Ibid. p.88 5 Lievrouw, Leah A. Alternative and Activist New Media. Malden, MA: Polity, 2011. 6 Habermas, Jürgen. Knowledge and Human Interests. trans. Jeremy J. Shapiro. Boston: Beacon Press, 1971. p.4 4 He writes that “positivism assumes the prohibitive function of protecting scientific inquiry from epistemological self- reflection.”7 In LIS, a similar disavowal of reflection in favor of more or less mechanical conceptions of information transfer can be traced; however, some writers in the field have followed Habermas’s suggestion that knowledge is intimately connected to what Habermas calls “human interests”, the drives and affects of the knowing subject. John M. Budd, in Knowledge and Knowing in Library and Information Science, follows Habermas’s critique of positivism, Shera and Egan’s social epistemology,
Load more

Recommended publications
  • Collaborative “Mail Art” Puts the Post in Postmodernism Letters, Envelopes and Enclosures Take Center Stage in an Intimate New Art Show
    Collaborative “Mail Art” Puts the Post in Postmodernism Letters, envelopes and enclosures take center stage in an intimate new art show Envelope decoration was always a staple of the mail art experience. This colorful letter was sent from performance artist Anna Banana (Anna Lee Long) to collagist John Evans in 2010. (John Evans papers, Archives of American Art). By Ryan P. Smith JULY 30, 2018 In the era of instant messaging and FaceTime on the go, it can be easy to forget the pleasure of shuffling out to the mailbox in hope of discovering a thoughtful note from an old friend. Removing a letter from its envelope is a rich tactile experience, and marginalia, cross-outs, distinct penmanship and quirky enclosures combine to give epistolary exchanges a uniquely personal flavor. In the experimental artistic simmer of the late 1950s, the everyday creativity of letter-writing gave rise to a veritable movement: that of “mail art,” an antiestablishment, anything-goes mode of serial imaginative expression whose inclusive nature has kept it alive even into the Digital Age. Now a new show, “Pushing the Envelope,” organized by the Smithsonian's Achives of 2018 American Art and opening August 10 at the Lawrence A. Fleischman Gallery in Washington, D.C., promises to shine a spotlight on the medium. The enigmatic Neo-Dada collagist Ray Johnson, a Detroit native who struggled with fame even as he appropriated images of movie stars for his art, pioneered in the field of mail art, weaving together an immense spider web of collaborators that would survive him following his sudden suicide in 1995.
    [Show full text]
  • Download the PDF Here
    From the Mail Art network, We—’We’ being Jaye and me as one physical being, just to VESTED clarify*—We, as Genesis in those days, heard from an artist called Anna Banana. One day she wrote to me and we asked her about this mythical INTEREST fi gure we’d heard about called Monte Cazazza. She wrote back and said, ‘Monte Cazazza is a Genesis Breyer P-Orridge in conversation sick, dangerous, sociopathic individual. Why, with Mark Beasley once, Monte came to an art opening dressed like a woman in his long coat, carrying a briefcase and waving a Magnum revolver. In the briefcase was a dead cat and he locked the doors, held everybody in the art opening at gunpoint, took the cat out, poured lighter fl uid on it and set it on fi re. Oh, and the stench fi lled the room. He just started to laugh and then he left again. You don’t want to know this person!’ Wrong. (laughs) We did wantwant to know this person. Of course, once we heard how awful he was, we decided to correspond with Monte. We used to send each other the most grotesque and unpleasant things we could think of. One time, we sent him a big padded envelope and inside it were a pint of maggots and chicken legs and offal from the butcher, mixed up with pornography and so on. By the time it got to California to his P.O. Box, it stank! He was temporarily restrained by the security at the post offi ce.
    [Show full text]
  • RESUME Anna Banana 287 East 26Th Avenue PO Box 3655 Vancouver, BC, Canada Vancouver, BC, Canada V5V 2H2 V6B 3Y8 Phone (604) 876-6764
    RESUME Anna Banana 287 East 26th Avenue PO Box 3655 Vancouver, BC, Canada Vancouver, BC, Canada V5V 2H2 V6B 3Y8 Phone (604) 876-6764 Personal Biography Born: 1940, Victoria, BC, Canada Education: UBC, Vancouverl958-65, Bachelor of Education; Esalen Institute, Big Sur, CA, 1969-70 Early Career: Teaching, Vancouver Public Schools, 1964-66, The New School, Vancouver, 1966-69. Massage workshops, Vancouver, Toronto & Ottawa, 1971-73. Artistic Beginnings: Batik, drawing & painting. Shift from object making to conceptual work, August 1971, Town Fool Project, Victoria, BC Artistic Orientation To stimulate involvement, participation and reaction by confronting audiences with an alternate view of art, thus encouraging a re-evaluation of art from a new perspective. To these ends; participatory events in the public sphere, long-term involvement in the international mail art network, producing and exchanging individual works and publications (The Banana Rag and VILE Magazine), initiating cooperative publishing ventures, performances of Dada sound poetry, Futurist theatre works and personally scripted performances. Selected Career Highlights Publications: The Banana Rag, 22 issues from 1971-88 VILE Magazine, 7 issues from 1974-80 About VILE, 106 pg. book about VILE Magazine and my SF public events, March 1983 Euro-Tour Commemorative Stamp Edition, 15 sheets of stamps in an edition of 16 copies, October 1987 International Art Posf/Collaborative Color Stamp Edition, 2 sheets, February 1988 Events: The Banana Olympics - San Francisco, 1975, public event
    [Show full text]
  • North American Artists' Groups, 1968–1978 by Kirsten Fleur Olds A
    Networked Collectivities: North American Artists’ Groups, 1968–1978 by Kirsten Fleur Olds A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2009 Doctoral Committee: Professor Alexander D. Potts, Chair Professor Matthew N. Biro Associate Professor Rebecca Zurier Assistant Professor Kristin A. Hass © Kirsten Fleur Olds All rights reserved 2009 To Jeremy ii Acknowledgments This dissertatin truly resembles a “third mind” that assumed its own properties through collaborations at every stage. Thus the thanks I owe are many and not insignificant. First I must recognize my chair Alex Potts, whose erudition, endless patience, and omnivorous intellectual curiosity I deeply admire. The rich conversations we have had over the years have not only shaped this project, but my approach to scholarship more broadly. Moreover, his generosity with his students—encouraging our collaboration, relishing in our projects, supporting our individual pursuits, and celebrating our particular strengths—exemplifies the type of mentor I strive to be. I would also like to acknowledge the tremendous support and mentorship provided by my committee members. As I wrote, I was challenged by Rebecca Zurier’s incisive questions—ones she had asked and those I merely imagined by channeling her voice; I hope this dissertation reveals even a small measure of her nuanced and vivid historicity. Matt Biro has been a supportive and encouraging intellectual mentor from my very first days of graduate school, and Kristin Hass’sscholarship and guidance have expanded my approaches to visual culture and the concept of artistic medium, two themes that structure this project.
    [Show full text]
  • The Artist As a Work-In-Progress: General Idea and the Construction of Collective Identity
    Forum for Modern Language Studies Vol. 48,No.4, doi: 10.1093/fmls/cqs022 THE ARTIST AS A WORK-IN-PROGRESS: GENERAL IDEA AND THE CONSTRUCTION OF COLLECTIVE IDENTITY DEBORAH BARKUN ABSTRACT Downloaded from In its twenty-five years of activity (1969–1994), the art collective General Idea developed a complex artistic mythology and identity that permitted it to produce a substantial corpus of work while confronting challenges provoked by evolving social relationships and, eventually, HIV/AIDS. The group main- tained a cohesive partnership, a ‘collaborative body’ that subsumed individual members’ identities within a collective whole. This paper analyses the concep- http://fmls.oxfordjournals.org/ tual projects and artists’ statements of the group’s first decade, many of which belong to the domain of Correspondence and Mail Art. It argues that these textual and performative artworks strategically constructed an elaborate collect- ive identity. They equally functioned as a vehicle through which to develop methods and strategies of collaborative practice, reflecting debates about authorship such as those theorized contemporaneously by Roland Barthes and Michel Foucault. Keywords: General Idea; collaboration; authorship; collectivity; Correspondence Art; Conceptual Art; Mail Art; manifesto; performance; gender; sexuality by guest on October 16, 2012 IN 1969,CANADIAN ARTISTS AA Bronson (b. Michael Tims), Jorge Zontal (b. Slobodan Saia-Levi) and Felix Partz (b. Ron Gabe) formed a multimedia art collective named General Idea (Figure 1).1 General Idea’s formation was less deliberate than organic, a process evoked by the biological metaphors the group later used to characterize its collaboration, and the concepts and dissemination of its work.
    [Show full text]
  • SHOWS NOT to MISS of Arts, and the Museum of Fine Arts, Houston
    SHOWS NOT TO MISS of Arts, and the Museum of Fine Arts, Houston. Encounters with the Contemporary at the Uniform: Order and Disorder at P.S. 1 Smithsonian7sNational Museum of Aiiican Art in Contemporary Art Center in Long Island City, Queens, Washington, DC through December 2001. Includes NY through 3 September. 32 artists from Ethiopia, Ghana, Kenya, Mozambique, Nigeria, Senegal, South Afiica, Sudan and Tunisia World Treasures permanent gallery at the Library of born from 1913 to 1964. Show changes every four Congress in the Thomas Jefferson Building will have months. changingexhibits every few months. Opening show is "Beginnings," with a cuneiform tablet from 203 9 BC, Mies van der Rohe will be featured in a double the first book printed in the Western hemisphere (a museum show, coordinated by the Museum of Modem catechism in Spanish printed in Mexico in 1543) and Art and the Whitney Museum of American Art the earliest known movable type (Korean, 13th opening on 21 June 2001; the Modem closes on 11 century). September, and the Whitney on 23 September. Beatriz Mihazes, large scale paintings and Beyond the Easel: Decorative Painting by Bomard, screenprints by the Brazilian artists in her first solo Vuillard, Denis and Roussel, 1890-1930 includes 85 exhibition in an American museum, through 2 wall, door and ceiling paintings and folding screens, at September. Birmingham Museum of Art. the Metropolitan Museum of Art from 26 June through 9 September. Edward Weston: The Last Years in Camel at the Art Institute of Chicago, including 75 of Weston's last documents, Germany's four-yearly international photographs, taken from 1938 to 1948.
    [Show full text]
  • Coffee Clutch 2 Draft 1
    Name: _____________________________________________________ Date: _______ Coffee Clutch 2 draft 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Across 33. German artist known for collages 13. A ticket in Spain 5. Term for the margin between the edge of a stamp 36. Tree portrayed on the flag of Cascadia 14. Humorous use of words alike or nearly alike in design and perforations 38. Country name of a 1974 artistamp by Jas Felter sound but different in meaning 6. Name on artistamps issued by 41 39. Mail artist founder of Padma Press who now lives 16. A method of creating images or effects by passing 7. He assembled Fluxus Postal Kits in the 1960's in Arizona paper or canvas over a smoking candle 11. Nickname for the late artist Al Ackerman 40. Artist movement critiquing reason through 17. London street artist who stages miniature figures in city settings 12. Name for a public transit bus in Buenos Aires techniques exploiting unpredictable outcomes 41. Independent country of the late mail artist Harley 19. Artistic technique of reassembling reality by 15. Wealthy Italian noted for self-historification and cutting sections from an existing image to create a new issuing "International Postage" Down one 18. Archipelago created by Seattle mail artist Robbie 1. French artist who said "Pick up anything at your 22. Name on artistamps created by Canadian mail Rudine (two words) feet." artist Jas Felter 20.
    [Show full text]
  • SOLD OUT’ We Are Looking for a Wide Range of in Cremer Street Shoreditch London
    Editor Betti Marenko Deputy editor Leon C6 Art director: Amber Stoddart [email protected] Translations: Betti Marenko & Gabriela Bettini Web site: www.c6.org Contact: [email protected] This book can be purchased online from http://c6.org POD services and consultany http://openmute.org/ Special thanks to: Simon Worthington and Peter Carty from Mute whose patience and support on this project has made it possible. The views expressed in ‘DiY Survival’ are not necessarily those of the C6. Anti-Copyright! Reprint freely,in any manner desired,even without naming the source.DiY Survival is published in the Uk by C6 with the kind help of Mute http://www.metamute.com and printed by http://lightning-source.com online digital print on demand (POD) services in the USA and UK. This project has been supported by the Arts Council of England This book is dedicated to the memory of Kate Lee. C6 2005 ISBN: 0-9550664-9-2 CONTENTS 032 051 006 ViSuAL cHaoS – How to take on a vandalism, brandalism Multi-National with a The Call ‘DiY survival’ Felt Tip Pen and Win & Letter from the & street art THE VACUUM CLEANER editor AMANDA JANIS C6 CHAPTER 2 053 CHAPTER 1 DIY HOW TO Green to gold, an alternative funding DIY THEORY strategy 036 GORDON BROWN 012 How to create a high Of Avant Gardes bandwidth wireless and Tail Ends node… Consume-style 056 RUTH CATLOW MARCUS VERHAGEN How to Arts Council S.ALBERT & LEON C6 038 015 There are those who 060 CCTV Nuts Manifesto: build and those who Press Office Handbook Big Brother as Our dismantle, notes on You are the Media Neighbor Trashware BLUELOOP YOUNGSOOK CHOI HACKLAB_PG 063 016 042 Cardboard Buddies The Work of Artists Sms to string: CHRIS LIN, INTERNATIONAL in a Databased Society: Turn text messages UNION OF FREE THINKERS net.art as on-line to a usable format activism BEN C6 RICARDO MIRANDA ZUÑIGA 069 Baci Di Dama: a recipe 045 NONNA PAPERA 025 Anti mobile Shopdropping.
    [Show full text]
  • CAVELLINI COMES to CALIFORNIA Cavellini's Arrival from Italy Was an Event in Itself
    VOLUME 3, NUMBER 3 MAY 1980 CAVELLINI COMES TO CALIFORNIA Cavellini's arrival from Italy was an event in itself. Even the customs officials wanted to know who was coming in from where, since they had never seen such a motley group await- ing the arrival of any foreign guest, let alone the greatest! All had stickers on, costumes adorned some, others wore Cavel- lini masks which were Xerox replicas of his face tied around each head. What a motley crew indeed, and then he arrived, not the least tired, available for photographs, even bringing along his own photographer, Ken Damy, who was assigned the documentation of the trip as well as the filming of ex- cerpts in order to create a film called Cavellini in California. Choreographed by Madeline (Bibi) Behren-Brigham, the arrival worked efficiently, the group all assembled on the motorized cable car which had been rented for the occa- sion driven by an artist too. As the car left the airport, Cavellini did not see the scenic part of San Francisco until he got to North Beach, but there we picked up other artists along the way. Then across the Golden Gate Bridge on a very cold, damp, foggy day to the other side to take pictures and toast each other with California white wine. A Chinese dinner ended the evening, before taking Cavellini and his photographer to the ~aision,an old restored Victorian and he knew it. But what irony! hotel which was to be his address for a few days in San No one can really describe the entrance into the Saturday Francisco.
    [Show full text]
  • Representing the Eternal Network: Vancouver Artists' Publications, 1%9-73
    Representing The Eternal Network: Vancouver Artists' Publications, 1%9-73 Tusa Shea B.A., University of Victoria, 2001 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS In the Department of History in Art We accept this thesis as conforming to the required standard OTusa Shea, 2004 University of Victoria All rights reserved. This thesis may not be reproduced n whole or in part, by photocopy or other means, without the permission of t e author. Supervisor: Dr. Christopher Thomas ABSTRACT A number of artists' publications produced by the Vancouver-based collectives Image Bank, Ace Space Co., and Poem Company, which were circulated through Correspondence Art networks between 1%9 and 1m were crucial to the development of an "imagined community" known as the Eternal Network. This thesis uses the social, political, and art historical context specific to the development of artists' self-publishing in Vancouver as a case study. It examines how, at this particular time and place, these artists helped to build a parallel communications structure that functioned as an autonomous fictive space in which they could adhere to their anti-commodity, decentralized, and democratic ideals. Examiners: iii TABLE OF CONTENTS .. ABSTRACT. ..................................................................................II ... TABLE OF CONTENTS.. .................................................................III LIST OF ILLUSTRATIONS.. ............................................................. .iv INTRODUCTION.
    [Show full text]
  • July2019cp.Pdf
    07/2019 Song of the Mountains Premieres • Daniel Tiger on Roo’s Block Party • Jamestown This summer, experience the thrills and mysteries of the final frontier—from the space race and one small step 50 years ago, to giant leaps and all that lies beyond. Look inside for this little moon icon for special Summer of Space content on-air and online at unctv.org/space. Leave gravity behind and space out on UNC-TV PBS & More! aboutUNC-TV CenterPiece is the monthly program guide of UNC-TV, North Carolina’s public media network and broadcast service licensed to the University Double Your Impact! of North Carolina. Contributions are tax deduct- ible to the extent permitted by law. UNC-TV’s N central offices and studios are housed in the HI G Take an extra step in supporting C G Joseph and Kathleen Bryan Communications T I F UNC-TV! If you work for, or are retired A Center in Research Triangle Park. T M from, one of several community- minded companies, your contribution 10 UNC-TV Drive P M R A to UNC-TV is twice as valuable. PO Box 14900 O G R Research Triangle Park, NC 27709-4900 1-919-549-7000 or 1-800-906-5050 Your employer will match your gift dollar for dollar, and UNC-TV network stations are: Asheville WUNF-TV some companies even double or triple the amount of Canton/Waynesville WUNW-TV your gift—at no cost to you! Some businesses also match Chapel Hill/Raleigh/Durham WUNC-TV the donations of spouses or other family members.
    [Show full text]
  • A Finding Aid to the John Held Papers Relating to Mail Art in the Archives of American Art
    A Finding Aid to the John Held Papers Relating to Mail Art in the Archives of American Art Jean Fitzgerald & Judy Ng Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. July 30, 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1990-1999............................................................. 5 Series 2: Diaries, 1990-2000................................................................................... 6 Series 3: Letters, 1973-2008...................................................................................
    [Show full text]