DOCSLIB.ORG

Smithsonian Opportunities for Research and Study Guide Can Be Found Online At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Smithsonian Opportunities for Research and Study Guide Can Be Found Online At SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2017 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 1.6 Copyright © 2017 by Smithsonian Institution Table of Contents How to Use This Book .................................................................................................................................................. 1 Anacostia Community Museum (ACM) ........................................................................................................................ 2 Archives of American Art (AAA)................................................................................................................................... 4 Asian Pacific American Center (APAC) ......................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ......................................................................................................... 7 Cooper-Hewitt, National Design Museum (CHNDM) ................................................................................................. 10 Freer Gallery of Art/Arthur M. Sackler Gallery (FSGA) ................................................................................................ 14 Hirshhorn Museum and Sculpture Garden (HMSG) .................................................................................................... 18 Museum Conservation Institute (MCI) ....................................................................................................................... 20 National Air and Space Museum (NASM) .................................................................................................................. 23 National Museum of African American History and Culture (NMAAHC) .................................................................... 29 National Museum of African Art (NMAfA) ................................................................................................................. 31 National Museum of American History (NMAH) ........................................................................................................ 33 National Museum of the American Indian (NMAI) ..................................................................................................... 45 National Museum of Natural History (NMNH) ........................................................................................................... 50 National Portrait Gallery (NPG) ............................................................................................................................... 100 National Postal Museum (NPM) .............................................................................................................................. 103 National Zoological Park (NZP) ............................................................................................................................... 105 Office of International Relations (OIR) ..................................................................................................................... 115 Office of the Provost (Provost) ................................................................................................................................. 117 Smithsonian American Art Museum (SAAM) ........................................................................................................... 119 Smithsonian Astrophysical Observatory (SAO) ....................................................................................................... 122 Smithsonian Center For Learning and Digital Access (SCLDA) ................................................................................ 143 Smithsonian Environmental Research Center (SERC) .............................................................................................. 145 Smithsonian Institution Archives (SIA) .................................................................................................................... 151 Smithsonian Institution Libraries (SIL) ..................................................................................................................... 155 Smithsonian Latino Center (SLC)............................................................................................................................. 161 Smithsonian Science Education Center (SSEC) ........................................................................................................ 164 Smithsonian Tropical Research Institute (STRI) ....................................................................................................... 165 The Smithsonian Associates (TSA) .......................................................................................................................... 174 How to Use This Book Are you interested in doing independent research or study related to Smithsonian collections, facilities, or experts? Are you interested in having a learning experience guided by a Smithsonian mentor with specific expertise? Are you interested in maintaining a scholarly affiliation with the Smithsonian on a subject that is a particular area of your expertise? If so, this could be the book for you. For over fifty years, in various iterations, the Smithsonian Opportunities for Study and Research (SORS) guide has been a resource for connecting prospective fellows, interns, and research associates with the Smithsonian. If you are applying to an existing Smithsonian program (fellowship, internship, etc), you can use this book to identify a potential advisor/mentor and reach out to them to discuss whether they might be in a position to host you. Alternatively, if there isn’t an existing program in the area of your interest, but you would like to explore the possibility of doing an internship or fellowship with a particular SI expert on your own – this book can be used for that too. If you approach a would-be Smithsonian advisor or mentor with a question or proposal, be specific as possible, and do some research ahead of time to verify that the person you are approaching is doing work in a field that matches your idea or question. Smithsonian research and program staff often have many competing commitments. If you reach out and don’t hear back, it may that the person you reach out to just isn’t in a position to host you. On the other hand, broadening access is a priority for the Smithsonian; if the person you contact can offer a response, they will. I honor you for your commitment to increasing your knowledge and diffusing it to others. Thank you for your interest in the Smithsonian! Eric Woodard Director of Fellowships and Internships Smithsonian Institution August 2016 SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2017 | 1 Anacostia Community Museum (ACM) Lori Yarrish, Acting Director The mission of the Anacostia Community Museum is focused on the examination of contemporary urban issues and community life, and on community-focused approaches to research, documentation, and educational and cultural programming. The geographic scope of museum work incorporates the Washington, D.C. Metro area as well as urban communities in other parts of the United States. Core to the work of the museum is the belief that active citizen participation in the recovery and preservation of community historical assets, in cultural and arts activities, and in community advocacy are important and powerful instruments in creating and maintaining a sense of community and civic ownership. The permanent collection supports the museum’s investigation of contemporary community life, and of issues and themes that shape and resonate within urban communities. An important goal of museum collections is the development of strategies to engage public audiences with the artifacts and other materials in the museum’s collections. Smithsonian interns and fellows assist the museum in bringing scholarship and formal research to research programs. In addition to the range of scholarship within the humanities and social sciences, the museum is also interested in students and researchers in the fields of social and human geography, community studies, cultural studies, and urban ecology. The museum has a strong focus on community-based documentation and research efforts—including oral history interviewing, community survey and mapping projects, and community-based collecting. Museum research centers on four main areas of inquiry: URBAN ARTS: the wide range of creative activities that take place within urban communities CULTURAL ENCOUNTERS: the interaction between diverse racial, ethnic, and cultural communities with a focus on migration and immigration URBAN ECOLOGY: the environmental issues found in urban spaces and the impact of the built environment on the natural environment within urban areas URBAN STUDIES: the broad array of issues within urban spaces, including research on community history; land use; demographic changes; planning strategies, development and gentrification RESEARCH STAFF AMOS, Alcione M., Museum Curator. B.A. (1972) Faculdade de Filosofia, Brazil; MSLS (1974) Catholic University. Research specialties: neighborhood change in particular the impact of the building of Suitland Parkway on Historic Barry Farm; community impact of migration and immigration on urban populations, in particular post-Civil War population
Load more

Recommended publications
  • Betty Jane Belanus
    Betty J. Belanus 3504 21st Avenue North Arlington, VA 22207 202/633-6582 (w) 703/527-1813 (h) [email protected] or [email protected] Current Appointment 1993- Present Folklorist/Curator/Education Specialist, Smithsonian Institution Center for Folklife and Cultural Heritage Past Appointments 1990 – 1992 Adjunct Professor, University of Maryland/Baltimore County American Studies Department 1987 - 1990 Contract positions, Smithsonian Institution, Office of Folklife Programs 1984 – 1987 Education Assistant, Indianapolis Children’s Museum Co-Director, Materials at Hand, not-for-profit cultural organization 1982 -1984 Indiana State Folk Arts Coordinator, Indiana Arts Commission Education Indiana University, Ph.D. in Folklore (Minors: Anthropology and Educational Media), 1990 Indiana University, M.A. in Folklore, 1979 Smith College, B.A., in American Studies, Concentration History, 1977 Research Foci Material culture, traditional medicine and foodways research and presentation Folklore and Education research, training and publication Educational media and publication Mentorship of interns and fellows as future professionals 1 Curatorial Positions Programs for Smithsonian Folklife Festival Curated: 2017, “50th Anniversary Weekend” 2012, “Campus and Community” 2010, “Smithsonian Inside Out” 2009, “Wales Smithsonian Cymru” 2007, “Roots of Virginia Culture” 2004, “Water Ways: Mid-Atlantic Maritime” 1999, “New Hampshire Stories” 1997, “African Immigrants to Washington, DC” 1996, “Working at the Smithsonian” 1991, “Family Farming in the Heartland”
    [Show full text]
  • Smithsonian Institution Archives (SIA)
    SMITHSONIAN OPPORTUNITIES FOR RESEARCH AND STUDY 2020 Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 2.0 (Updated January 2020) Copyright © 2020 by Smithsonian Institution Table of Contents Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 6 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 7 Cooper-Hewitt,
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • Fall 201720172017
    2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs.
    [Show full text]
  • Creating a Roadmap for the Future of Music at the Smithsonian
    Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................
    [Show full text]
  • The Woody Guthrie Centennial Bibliography
    LMU Librarian Publications & Presentations William H. Hannon Library 8-2014 The Woody Guthrie Centennial Bibliography Jeffrey Gatten Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/librarian_pubs Part of the Music Commons Repository Citation Gatten, Jeffrey, "The Woody Guthrie Centennial Bibliography" (2014). LMU Librarian Publications & Presentations. 91. https://digitalcommons.lmu.edu/librarian_pubs/91 This Article - On Campus Only is brought to you for free and open access by the William H. Hannon Library at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU Librarian Publications & Presentations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Popular Music and Society, 2014 Vol. 37, No. 4, 464–475, http://dx.doi.org/10.1080/03007766.2013.834749 The Woody Guthrie Centennial Bibliography Jeffrey N. Gatten This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten’s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English- language items of relevance related to, or written by, Guthrie. Introduction Woodrow Wilson Guthrie (1912–67) was a singer, musician, composer, author, artist, radio personality, columnist, activist, and philosopher. By now, most anyone with interest knows the shorthand version of his biography: refugee from the Oklahoma dust bowl, California radio show performer, New York City socialist, musical documentarian of the Northwest, merchant marine, and finally decline and death from Huntington’s chorea.
    [Show full text]
  • Opens March 30 at Smithsonian American Art Museum's
    March 30, 2018 Media only: [email protected] Media website: americanart.si.edu/pr “No Spectators: The Art of Burning Man” Opens March 30 at Smithsonian American Art Museum’s Renwick Gallery Exhibition Brings Large-Scale Installations From Famed Desert Gathering to Washington Cutting-edge artwork created at Burning Man, the annual desert gathering that is one of the most influential events in contemporary art and culture, will be exhibited in the nation’s capital for the first time this spring. “No Spectators: The Art of Burning Man” will take over the entire Renwick Gallery building, exploring the maker culture, ethos, principles and creative spirit of Burning Man. Several artists will debut new works in the exhibition. In addition to the in-gallery presentation, the Renwick exhibition will expand beyond its walls for the first time through an outdoor extension titled “No Spectators: Beyond the Renwick,” displaying sculptures throughout the surrounding neighborhood. Nora Atkinson, the museum’s Lloyd Herman Curator of Craft, is organizing the exhibition in collaboration with the Burning Man Project, the nonprofit organization responsible for producing the annual Burning Man event in Black Rock City. The outdoor extension of the exhibition is presented in partnership with Washington, D.C.’s Golden Triangle Business Improvement District, a 43-square-block neighborhood that stretches from the White House to Dupont Circle. The Burning Man community was instrumental in suggesting artworks for inclusion in the exhibition. “No Spectators: The Art of Burning Man” opens March 30, 2018. The Renwick is the sole venue for the exhibition, which will close in two phases.
    [Show full text]
  • Phytolith Analysed to Compare Changes in Vegetation Structure of Koobi Fora and Olorgesailie Basins Through the Mid- Pleistocene-Holocene Periods
    Phytolith analysed to Compare Changes in Vegetation Structure of Koobi Fora and Olorgesailie Basins through the Mid- Pleistocene-Holocene Periods. By KINYANJUI, Rahab N. Student number: 712138 Submitted on 28th February, 2017 Submitted the revised version on 22nd February, 2018 Declaration A thesis submitted to the Faculty of Science in fulfilment of the requirements for PhD degree. At School of Geosciences, Evolutionary Studies Institute (ESI) University of Witwatersrand, Johannesburg South Africa. I declare that this is my own unaided work and has not been submitted elsewhere for degree purposes KINYANJUI, Rahab N. Student No. 712138 ii Abstract Phytolith analyses to compare changes in vegetation structure of Koobi Fora and Olorgesailie Basins through Mid-Pleistocene-Holocene Periods. By Rahab N Kinyanjui (Student No: 712138) Doctor of Philosophy in Palaeontology University of Witwatersrand, South Africa School of Geological Sciences, Evolutionary Science Institute (GEOS/ESI) Supervisor: Prof Marion Bamford. The Koobi Fora and Olorgesailie Basins are renowned Hominin sites in the Rift Valley of northern and central Kenya, respectively with fluvial, lacustrine and tuffaceous sediments spanning the Pleistocene and Holocene. Much research has been done on the fossil fauna, hominins and flora with the aim of trying to understand when and how the hominins evolved, and how the environment impacted on their behaviour, land-use and distribution over time. One of the most important factors in trying to understand the hominin-environment relationship is firstly to reconstruct the environment. Important environmental factors are the climate, rate or degree of climate change, vegetation structure and resources, floral and faunal resources. Vegetation structure/composition is a key component of the environments and, it has been hypothesized the openness and/or closeness of vegetation structure played a key role in shaping the evolutionary history not only of man but also other mammals.
    [Show full text]
  • Building Stones of the National Mall
    The Geological Society of America Field Guide 40 2015 Building stones of the National Mall Richard A. Livingston Materials Science and Engineering Department, University of Maryland, College Park, Maryland 20742, USA Carol A. Grissom Smithsonian Museum Conservation Institute, 4210 Silver Hill Road, Suitland, Maryland 20746, USA Emily M. Aloiz John Milner Associates Preservation, 3200 Lee Highway, Arlington, Virginia 22207, USA ABSTRACT This guide accompanies a walking tour of sites where masonry was employed on or near the National Mall in Washington, D.C. It begins with an overview of the geological setting of the city and development of the Mall. Each federal monument or building on the tour is briefly described, followed by information about its exterior stonework. The focus is on masonry buildings of the Smithsonian Institution, which date from 1847 with the inception of construction for the Smithsonian Castle and continue up to completion of the National Museum of the American Indian in 2004. The building stones on the tour are representative of the development of the Ameri­ can dimension stone industry with respect to geology, quarrying techniques, and style over more than two centuries. Details are provided for locally quarried stones used for the earliest buildings in the capital, including A quia Creek sandstone (U.S. Capitol and Patent Office Building), Seneca Red sandstone (Smithsonian Castle), Cockeysville Marble (Washington Monument), and Piedmont bedrock (lockkeeper's house). Fol­ lowing improvement in the transportation system, buildings and monuments were constructed with stones from other regions, including Shelburne Marble from Ver­ mont, Salem Limestone from Indiana, Holston Limestone from Tennessee, Kasota stone from Minnesota, and a variety of granites from several states.
    [Show full text]
  • The Chinese Hackberry Tree Witnessing a Century of Change
    About the Chinese Hackberry The Chinese hackberry (Celtis sinensis) is native to China, Korea, and Japan, where it is often found on forested The slopes. It is a member of the hemp family (Cannabaceae), along with marijuana Chinese Hackberry Tree and hops. Witnessing a Century of Change This tree has seen many changes. One of the prettiest shade trees in Japan, Planted around 1905 on the grounds of what was then the suitable for avenues or private gardens, U.S. Patent Office Building, it has slowly grown as the city has parks, etc. It should be tried in the Southwest as a shade tree. developed and transformed around it. About Smithsonian Gardens —David Fairchild, Agricultural Explorer, A rare, large, local specimen of a Chinese hackberry Smithsonian Gardens is a vital and vibrant part U.S. Department of Agriculture, 1903 (Celtis sinensis), it has witnessed the relocation of Chinatown of the Smithsonian Institution and an American Alliance of Museums–accredited museum. from its original site on Pennsylvania Avenue; rioting, looting, and Our gardens are outdoor gallery spaces that extend the Smithsonian’s museum experience burning during the 1968 riots; the opening of the Smithsonian’s in a public garden setting. National Portrait Gallery and American Art Museum; the rise of Chinatown as a major entertainment and sports destination; and A Living Collection many other momentous events in the history of our nation’s capital. This tree is one of nearly 2,000 Washington, D.C. in 1905 specimens that form the Smithsonian Gardens Tree Collection, located • Teddy Roosevelt was president. throughout Smithsonian museum • D.C.
    [Show full text]
  • The Smithsonian Comprehensive Campaign
    1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 1 JUNE 2010 briefing paper for the smithsonian comprehensive campaign Smithsonian Institution 1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 2 SMITHSONIAN CAMPAIGN BRIEFING PAPER Smithsonian Institution at a Glance MUSEUMS Anacostia Community Museum Cooper-Hewitt, National Design Museum Freer Gallery of Art and Arthur M. Sackler Gallery Hirshhorn Museum and Sculpture Garden National Air and Space Museum and Steven F. Udvar-Hazy Center National Museum of African American History and Culture National Museum of African Art National Museum of American History, Kenneth E. Behring Center National Museum of the American Indian and the George Gustav Heye Center National Museum of Natural History National Portrait Gallery National Postal Museum National Zoological Park Smithsonian American Art Museum and the Renwick Gallery RESEARCH CENTERS Archives of American Art Museum Conservation Institute Smithsonian Astrophysical Observatory Smithsonian Environmental Research Center Smithsonian Institution Archives Smithsonian Institution Libraries Smithsonian Marine Station at Fort Pierce Smithsonian Tropical Research Institute (Panama) EDUCATION AND OUTREACH Center for Folklife and Cultural Heritage National Science Resources Center Office of Fellowships Smithsonian Affiliations Smithsonian Asian Pacific American Program Smithsonian Center for Education and Museum Studies Smithsonian Institution Traveling Exhibition Service Smithsonian Latino Center The Smithsonian Associates 1002435_Smithsonian.qxp:Layout 1 6/29/10 10:03 AM Page 1 SMITHSONIAN CAMPAIGN BRIEFING PAPER The Smithsonian Stands in Singular Space WE ARE KEEPERS OF THE AMERICAN SPIRIT and stewards of our sacred objects. We speak with voices that reflect our diversity and tell the stories that define our common experience.
    [Show full text]
  • Robert Ridgway 1850-1929
    NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA BIOGRAPHICAL MEMOIRS VOLUME XV SECOND MEMOIR BIOGRAPHICAL MEMOIR OF ROBERT RIDGWAY 1850-1929 BY ALEXANDER WETMORE PRESENTED TO THE ACADEMY AT THE ANNUAL MEETING, 1931 ROBERT RIDGWAY 1850-1929 BY ALEXANDER WETMORE Robert Ridgway, member of the National Academy of Science, for many years Curator of Birds in the United States National Museum, was born at Mount Carmel, Illinois, on July 2, 1850. His death came on March 25, 1929, at his home in Olney, Illinois.1 The ancestry of Robert Ridgway traces back to Richard Ridg- way of Wallingford, Berkshire, England, who with his family came to America in January, 1679, as a member of William Penn's Colony, to locate at Burlington, New Jersey. In a short time he removed to Crewcorne, Falls Township, Bucks County, Pennsylvania, where he engaged in farming and cattle raising. David Ridgway, father of Robert, was born March 11, 1819, in Harrisburg, Pennsylvania. During his infancy his family re- moved for a time to Mansfield, Ohio, later, about 1840, settling near Mount Carmel, Illinois, then considered the rising city of the west through its prominence as a shipping center on the Wabash River. Little is known of the maternal ancestry of Robert Ridgway except that his mother's family emigrated from New Jersey to Mansfield, Ohio, where Robert's mother, Henrietta James Reed, was born in 1833, and then removed in 1838 to Calhoun Praifle, Wabash County, Illinois. Here David Ridgway was married on August 30, 1849. Robert Ridgway was the eldest of ten children.
    [Show full text]