SMITHSONIAN INSTITUTION 1000 Jefferson Drive SW., Washington, DC 20560 Phone, 202–357–1300; Or 202–357–2700 (Smithsonian Information Center)

Total Page:16

File Type:pdf, Size:1020Kb

SMITHSONIAN INSTITUTION 1000 Jefferson Drive SW., Washington, DC 20560 Phone, 202–357–1300; Or 202–357–2700 (Smithsonian Information Center) QUASI±OFFICIAL AGENCIES 725 cost-of-living variations. Using these determine the eligibility of clients and maximum income levels and other priorities of service based on an financial factors, the Corporation's appraisal of the legal needs of the recipient programs establish criteria to eligible client community. For further information, contact the Office of Communications, Legal Services Corporation, 750 First Street NE., Washington, DC 20002±4250. Phone, 202±336±8800. Fax, 202-336-8959. Internet, http:// www.lsc.gov/. SMITHSONIAN INSTITUTION 1000 Jefferson Drive SW., Washington, DC 20560 Phone, 202±357±1300; or 202±357±2700 (Smithsonian Information Center). Internet, http:// www.si.edu/. Board of Regents: The Chief Justice of the United States WILLIAM H. REHNQUIST (Chancellor) The Vice President of the United States AL GORE Members of the Senate THAD COCHRAN, WILLIAM FRIST,D ANIEL PATRICK MOYNIHAN Members of the House of Representatives SAMUEL JOHNSON, ROBERT LIVINGSTON, (1 VACANCY) Citizen Members HOWARD H. BAKER, JR., BARBER B. CONABLE, ANNE D'HARNONCOURT, LOUIS V. GERSTNER, JR., HANNA HOLBORN GRAY, MANUEL L. IBANÄ EZ,H OMER A. NEAL, FRANK A. SHRONTZ, WESLEY SAMUEL WILLIAMS, JR. Officials: The Secretary I. MICHAEL HEYMAN The Inspector General THOMAS D. BLAIR Director, Office of Planning, Management L. CAROLE WHARTON and Budget Counselor to the Secretary for Biodiversity THOMAS E. LOVEJOY and Environmental Affairs Counselor to the Secretary for Electronic MARC PACHTER Communications and Special Projects Counselor to the Secretary for Community MIGUEL BRETOS Affairs and Special Projects Executive Assistant to the Secretary JAMES M. HOBBINS Executive Secretary to the Secretary BARBARA CEDERBORG Under Secretary CONSTANCE NEWMAN General Counsel JOHN E. HUERTA Director, Office of Government Relations DONALD L. HARDY Director, Office of Communications DAVID J. UMANSKY Director, Office of Information Technology VINCENT MARCALUS Senior Information Officer JIM CONKLIN, Acting Senior Business Officer ROLAND BANSCHER, Acting VerDate 22-OCT-98 06:59 Oct 30, 1998 Jkt 177653 PO 00000 Frm 00725 Fmt 6997 Sfmt 6995 E:\JOURNAL\177653.102 pfrm01 PsN: 177653 726 U.S. GOVERNMENT MANUAL Ombudsman CHANDRA HEILMAN Executive Director, Office of Membership ROBERT V. HANLE and Development Director, Office of Special Events and NICOLE L. KRAKORA Conference Services Chief Financial Officer RICK JOHNSON Director, Office of Sponsored Projects ARDELLE FOSS Director, Office of Equal Employment and ERA MARSHALL Minority Affairs Director, Office of Human Resources CAROLYN JONES Director, Office of Imaging, Printing, and JAMES H. WALLACE, JR. Photographic Services Director, Office of Contracting JOHN W. COBERT Director, Office of Physical Plant MICHAEL SOFIELD Director, Office of Protection Services DAVID F. MORRELL Director, Office of Environmental WILLIAM F. BILLINGSLEY Management and Safety Treasurer SUDEEP ANAND Comptroller M. LESLIE CASSON Provost J. DENNIS O'CONNOR Director, Anacostia Museum and Center for STEVEN NEWSOME African American History and Culture Director, Archives of American Art RICHARD WATTENMAKER Building Director, Arts and Industries JAMES HOBBINS Building Director, Cooper-Hewitt, National Design DIANNE PILGRIM Museum Director, Freer Gallery of Art and Arthur M. MILO C. BEACH Sackler Gallery Director, Hirshhorn Museum and Sculpture JAMES T. DEMETRION Garden Director, National Air and Space Museum DONALD D. ENGEN Director, National Museum of African Art ROSLYN A. WALKER Director, National Museum of American Art ELIZABETH BROUN Curator in Charge, Renwick Gallery KENNETH R. TRAPP Director, National Museum of American SPENCER CREW History Director, National Museum of the American W. RICHARD WEST, JR. Indian Director, National Campaign for NMAI JOHN L. COLONGHI Director, National Museum of Natural ROBERT W. FRI History Director, National Portrait Gallery ALAN M. FERN Director, National Postal Museum JAMES BRUNS Director, National Zoological Park MICHAEL ROBINSON Director, Office of Exhibits Central MICHAEL HEADLEY Director, Center for Museum Studies REX ELLIS Director, Smithsonian Institution Traveling ANNA R. COHN Exhibition Service Director, Institutional Studies Office ZAHAVA DOERING Editor, Joseph Henry Papers Project MARC ROTHENBERG Director, Office of Fellowships and Grants ROBERTA RUBINOFF Senior Scientist, Smithsonian Environmental DAVID L. CORRELL Research Center VerDate 22-OCT-98 06:59 Oct 30, 1998 Jkt 177653 PO 00000 Frm 00726 Fmt 6997 Sfmt 6995 E:\JOURNAL\177653.103 pfrm01 PsN: 177653 QUASI±OFFICIAL AGENCIES 727 Director, Smithsonian Marine Research MARY RICE Station Director, Smithsonian Astrophysical IRWIN I. SHAPIRO Observatory Director, Smithsonian Tropical Research IRA RUBINOFF Institute Director, Smithsonian Center for Materials LAMBERTUS VAN ZELST Research and Education Director, Smithsonian Institution Libraries NANCY E. GWINN Director, Museum Support Center CATHERINE J. KERBY Director, Smithsonian Institution Archives ETHEL W. HEDLIN Director, Smithsonian Office of Education ANN BAY Director, Center for Folklife Programs and RICHARD KURIN Cultural Studies Director, National Science Resources Center DOUGLAS LAPP Director, Wider Audience Development MARSHALL WONG Program Director, Office of International Relations FRANCINE BERKOWITZ Director, Smithsonian's Affiliates Program MICHAEL CARRIGAN Director, Smithsonian Center for Latino (VACANCY) Initiatives Director, Institute of Conservation Biology RUTH STOLK Counselor to the Provost (Asian-Pacific- FRANKLIN ODO American Activities) Director, Smithsonian Press/Smithsonian DANIEL GOODWIN Productions Editor, Smithsonian Magazine DON MOSER Publisher, Smithsonian Magazine RONALD WALKER Director, The Smithsonian Associates MARA MAYOR The John F. Kennedy Center for the Performing Arts 1 Chairman JAMES A. JOHNSON President LAWRENCE J. WILKER National Gallery of Art 1 President ROBERT H. SMITH Director EARL A. POWELL III Woodrow Wilson International Center for Scholars 1 Director (VACANCY) Deputy Director SAMUEL WELLS Deputy Director for Planning and DEAN W. ANDERSON Management Chairman, Board of Trustees JOSEPH H. FLOM More than 150 years old, the Smithsonian Institution is an independent trust instrumentality of the United States that fosters the increase and diffusion of knowledge. The world's largest museum complex, the Smithsonian includes 16 museums and galleries, the National Zoo, and research facilities in several States and the Republic of Panama. The Smithsonian holds more than 140 million artifacts and specimens in its trust for the American people. The Institution, a respected center 1 Administered under a separate Board of Trustees. VerDate 22-OCT-98 06:59 Oct 30, 1998 Jkt 177653 PO 00000 Frm 00727 Fmt 6997 Sfmt 6995 E:\JOURNAL\177653.103 pfrm01 PsN: 177653 728 U.S. GOVERNMENT MANUAL for research, is dedicated to public education, national service, and scholarship in the arts, sciences, and history. The Smithsonian Institution was created documentation, and interpretive and by act of August 10, 1846 (20 U.S.C. 41 educational programs relating to African- et seq.), to carry out the terms of the will American history and culture. The of British scientist James Smithson African-American church, the Harlem (1765±1829), who in 1826 had Renaissance, and jazz have been the bequeathed his entire estate to the subjects of recent exhibitions produced United States ``to found at Washington, by the Museum. under the name of the Smithsonian The Center mounts exhibitions such as Institution, an establishment for the ``Jazz Age in Paris,'' a SITES exhibition increase and diffusion of knowledge that premiered at the Center; sponsors among men.'' On July 1, 1836, Congress public programs; and collects material accepted the legacy and pledged the (approximately 7,000 objects) faith of the United States to the representative of the black experience in charitable trust. performing arts and art and culture. In September 1838, Smithson's legacy, For further information, contact the Anacostia which amounted to more than 100,000 Museum, 1901 Fort Place SE., Washington, DC gold sovereigns, was delivered to the 20020. Phone, 202±357±2700. mint at Philadelphia. Congress vested Archives of American Art The Archives responsibility for administering the trust contains the Nation's largest collection in the Smithsonian Board of Regents, of documentary materials reflecting the composed of the Chief Justice, the Vice history of visual arts in the United States. President, three Members of the Senate, On the subject of art in America, it is the three Members of the House of largest archives in the world, holding Representatives, and nine citizen more than 12 million documents. The members appointed by joint resolution Archives gathers, preserves, and of Congress. To carry out Smithson's mandate, the microfilms the papers of artists, Institution: craftsmen, collectors, dealers, critics, and Ðperforms basic research; art societies. These papers consist of Ðpublishes the results of studies, manuscripts, letters, diaries, notebooks, explorations, and investigations; sketchbooks, business records, clippings, Ðpreserves for study and reference exhibition catalogs, transcripts of tape- more than 140 million artifacts, works of recorded interviews, and photographs of art, and scientific specimens; artists and their work. Ðorganizes exhibits representative of The Archives' chief processing and the arts, the sciences, and American reference center is in the historic Old history and culture; and Patent Office
Recommended publications
  • 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]
  • African American History & Culture
    IN September 2016 BLACK AMERICAsmithsonian.com ­Smithsonian WITH CONTRIBUTIONS FROM: REP. JOHN LEWIS BLACK TWITTER OPRAH WINFREY A WORLD IN SPIKE LEE CRISIS FINDS ANGELA Y. DAVIS ITS VOICE ISABEL WILKERSON LONNIE G. BUNCH III HEADING NATASHA TRETHEWEY NORTH BERNICE KING THE GREAT ANDREW YOUNG MIGRATION TOURÉ JESMYN WARD CHANGED WENDEL A. WHITE EVERYTHING ILYASAH SHABAZZ MAE JEMISON ESCAPE FROM SHEILA E. BONDAGE JACQUELINE WOODSON A LONG-LOST CHARLES JOHNSON SETTLEMENT JENNA WORTHAM OF RUNAWAY DEBORAH WILLIS SLAVES THOMAS CHATTERTON WILLIAMS SINGING and many more THE BLUES THE SALVATION DEFINING MOMENT OF AMERICA’S ROOTS MUSIC THE NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY & CULTURE OPENS IN WASHINGTON, D.C. SMITHSONIAN.COM SPECIAL�ADVERTISING�SECTION�|�Discover Washington, DC FAMILY GETAWAY TO DC FALL�EVENTS� From outdoor activities to free museums, your AT&T�NATION’S�FOOTBALL� nation’s capital has never looked so cool! CLASSIC�® Sept. 17 Celebrate the passion and tradition of IN�THE� the college football experience as the Howard University Bisons take on the NEIGHBORHOOD Hampton University Pirates. THE�NATIONAL�MALL NATIONAL�MUSEUM�OF� Take a Big Bus Tour around the National AFRICAN�AMERICAN�HISTORY�&� Mall to visit iconic sites including the CULTURE�GRAND�OPENING Washington Monument. Or, explore Sept. 24 on your own to find your own favorite History will be made with the debut of monument; the Martin Luther King, Jr., the National Mall’s newest Smithsonian Lincoln and World War II memorials Ford’s Th eatre in museum, dedicated to the African are great options. American experience. Penn Quarter NATIONAL�BOOK�FESTIVAL� CAPITOL�RIVERFRONT Sept.
    [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]
  • The Foreign Service Journal, September 1922 (American Consular Bulletin)
    AMERICAN THE PYRAMIDS OF GHIZEH 35 CENTS A COPY The <LAmerican Consular Association OFFICERS WILBUR J. CARR Director of the Consular Service Honorary President HERBERT C. HENGSTLER. .. .Chief of the Consular Bureau Honorary Vice President Consul General CHARLES C. EBERHARDT President Consul General STUART J. FULLER Vice President Consul DONALD D. SHEPARD Secretary-Treasurer Consul TRACY LAY Chairman COMMITTEES EXECUTIVE Consul General NATHANIEL B. STEWART Chairman Consul General DEWITT C. POOLE Consul General ROGER C. TREDWELL Consul General NELSON T. JOHNSON Consul TRACY LAY RECEPTION Consul General ROGER C. TREDWELL Chairman Consul FREDERICK SIMPICH Consul EDWIN L. NEVILLE Consul FRANK C. LEE BULLETIN STAFF Consul FREDERICK SIMPICH Editor Consul ADDISON E. SOUTHARD Business Manager Consul HAMILTON C. CLAIBORNE Treasurer The American Consular Association is an unofficial and voluntary association embracing most of the members of the Consular Service of the United States. It was formed for the purpose of fostering esprit de corps among the members of the Consular Service, to strengthen Service spirit, and. to establish a center around which might be grouped the united efforts of its members for the improve¬ ment of the Service. RANSDELL INCORPORATED. PRINTERS, WASHINGTON CONSUL1 LLETIN PUBLISHED MONTHLY BY THE AMERICAN CONSULAR ASSOCIATION VOL. IV, No. 9 WASHINGTON, D. C. SEPTEMBER, 1922 The Smithsonian and Consuls By Charles D. Walcott, Secretary THOSE who are engaged in the pursuit of “He is not known to have had a single corre¬ knowledge and, indeed, the public at large, spondent in America, and in none of his papers is are year by year coming to a fuller realiza¬ found any reference to it or to its distinguished tion of what the Smithsonian Institution may men.
    [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]
  • 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]
  • Alcuaz Volunteering for the Smithsonian.Pdf
    The Smithsonian Institution is composed of ___19 museums, the National Zoo and 9 Research Centers. What is the approximate total number of artifacts, art and specimens in the Smithsonian’s collection? 137 million Regie Marie Plana-Alcuaz Introduction Volunteering in the US: definitions and value The Smithsonian Institution History of volunteering Volunteering Programs Museum Information Desk Program Description of training Attrition and retention Summary 1) description of the volunteer programs 2) training for the museum information desk program 3) motivations for volunteering 4) attrition 5) retention 26.8 percent (Bureau of Labor Statistics, 2011) Reasons 1) < stress 2) > health 3) + professional experience 4) + personal growth and self-esteem 5) + learning (University of California San Diego, 2012) = $173 billion U.S. dollars hourly wages for volunteers in 2010 = $23.36 26.3% volunteered their time and labor = 8.1 billion hours (Corporation for National and Community Service, 2011) 1) expertise and experience 2) more time 3) resources 4) public awareness 5) program visibility o How many percent of the Smithsonian’s collections is on 1) time display at any given time? 2% 2) incompetence 3) competition 4) lower standards 5) increase insurance 6) inability to negotiate (FEMA, 2006) James Smithson English chemist and mineralogist “an establishment for the increase and diffusion of knowledge among men” 104,960 gold sovereigns 8 shillings seven pence, = $508,318.46 in 1838. An Act of Congress signed by President James K. Polk on August 10, 1846 established the Smithsonian Institution. A Board of Regents and a Secretary of the Smithsonian (or chief executive) administer this trust.
    [Show full text]
  • Controversial “Conversations” Analyzing a Museum Director’S Strategic Alternatives When a Famous Donor Becomes Tainted
    Journal of Nonprofit Education and Leadership 2019, Vol. 9, No. 1, pp. 85–106 https://doi.org/10.18666/JNEL-2019-V9-I1-8390 Teaching Case Study Controversial “Conversations” Analyzing a Museum Director’s Strategic Alternatives When a Famous Donor Becomes Tainted Jennifer Rinella Katie Fischer Clune Tracy Blasdel Rockhurst University Abstract This teaching case places students in the role of Dr. Johnnetta Cole, director of the Smithsonian’s National Museum of African Art, as she determines how to respond to a situation in which Bill Cosby—well-known entertainer, spouse of a museum advisory board member, donor, and lender of a significant number of important pieces of art on display at the Museum—has been charged with sexual misconduct. Representing the Museum, the director must weigh the cost of appearing to support her friends the Cosbys against the value of displaying one of the world’s largest private collections of African American art. This case extends stakeholder theory by utilizing Dunn’s (2010) three-factor model for applying stakeholder theory to a tainted donor situation. Keywords: arts administration; philanthropy; stakeholder theory; crisis communication; nonprofit leadership; tainted donor; ethical decision making Jennifer Rinella is an assistant professor of management and director of the nonprofit leadership program, Helzberg School of Management, Rockhurst University. Katie Fischer Clune is an associate professor of communication, College of Business, Influence, and Information Analysis, Rockhurst University. She is also director of the university’s Honors Program. Tracy Blasdel is an assistant professor of management and marketing, Helzberg School of Management, Rockhurst University. Please send author correspondence to [email protected] • 85 • 86 • Rinella, Clune, Blasdel This teaching case offers an opportunity for students and practitioners to apply an important theoretical model for decision making to a real-life situation involving a tainted donor.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [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]
  • M NGO Accreditation ICH-09 - Form Re~U CLT I CIH I IT.'L
    -? m NGO accreditation ICH-09 - Form Re~u CLT I CIH I IT.'L-......,..._ United Nations • Intangible Educational, Scientific and • Cultural Le Cultural Organization • Heritage 02 MAl 2017 i~ .. ....... ti..U.tl ··7 ················ REQUEST BY A NON-GOVERNMENTAL ORGANIZATION TO BE ACCREDITED TO PROVIDE ADVISORY SERVICES TO THE COMMITTEE DEADLINE 30 APRIL 2017 Instructions for completing the request form are available at: http://www. unesco.orqlculturelichlenlforms 1. Name of the organization 1.a. Official name Please provide the full official name of the organization, in its original language, as it appears in the supporting documentation establishing its legal personality (section B.b below). Smithsonian Center for Folklife and Cultural Heritage 1.b. Name in English or French Please provide the name of the organization in English or French. Smithsonian Center for Folklife and Cultural Heritage 2. Contact of the organization 2.a. Address of the organization Please provide the complete postal address of the organization, as well as additional contact information such as its telephone number, e-maif address, ONebsite, etc. This should be the postal address where the organization carries out its business, regardless of where it may be legally domiciled (see section 8) . Organization: Smithsonian Center for Folklife and Cultural Heritage Address: 600 Maryland Avenue, SW, Suite 2001, Washington, DC, 20010, USA Telephone number: +1-202-633-1141 E-mail address: [email protected] Website: www.folklife.si.edu Other relevant information: Form ICH-09-2018-EN - revised on 31/0812016- oaae 1 2.b Contact person for correspondence Provide the complete name, address and other contact information of the person responsible for correspondence concerning this request.
    [Show full text]
  • Detroit Institute of Arts Records
    Detroit Institute of Arts records 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 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical...................................................................................................
    [Show full text]