A Finding Aid to the Frances Wolfson Art Gallery Records, 1973-1994, in the Archives of American Art

Total Page:16

File Type:pdf, Size:1020Kb

A Finding Aid to the Frances Wolfson Art Gallery Records, 1973-1994, in the Archives of American Art A Finding Aid to the Frances Wolfson Art Gallery Records, 1973-1994, in the Archives of American Art Jean Fitzgerald 1999 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 / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Correspondence, 1976-1994.................................................................... 4 Series 2: Business Records, 1981-1993.................................................................. 5 Series 3: Notes, 1973-1987..................................................................................... 6 Series 4: Exhibition Files, 1977-1992, undated....................................................... 7 Series 5: Printed Material, 1974-1994................................................................... 17 Series 6: Color Transparencies of Artwork, 1983-1990......................................... 18 Frances Wolfson Art Gallery records AAA.franwola Collection Overview Repository: Archives of American Art Title: Frances Wolfson Art Gallery records Identifier: AAA.franwola Date: 1973-1994 Creator: Frances Wolfson Art Gallery Extent: 5 Linear feet Language: English . Summary: The records of the Frances Wolfson Art Gallery measure 5 linear feet and date from 1973 to 1994. The Gallery was established in 1976 on the Mitchell Wolfson New World Center Campus of the Miami- Dade Community College. It focused on the art of the local Latino community in addition to serving the needs of the College's arts and humanities students. Materials document exhibitions held at the Gallery and the general administration of the Gallery through correspondence, business records and printed material. Administrative Information Acquisition Information This collection was donated to the Archives of American Art by the Miami-Dade Community College in 1997 Processing Information The collection was processed and the finding aid written by Jean Fitzgerald in 1999. The finding aid was modified by Stephanie Ashley in November 2001 prior to EAD conversion. Preferred Citation Frances Wolfson Art Gallery records, 1973-1994. Archives of American Art, Smithsonian Institution. Restrictions Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility. Terms of Use The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information. Page 1 of 18 Frances Wolfson Art Gallery records AAA.franwola Biographical / Historical The Frances Wolfson Art Gallery was established in 1976 on the Mitchell Wolfson New World Center Campus of the Miami-Dade Community College. It focused on the art of the local Latino community in addition to serving the needs of the College's arts and humanities students. Exhibitions and lectures reflected four major areas of emphasis: the Latino community, the Black community, the relationship of art, architecture and culture to the quality of contemporary urban civilization, and the best of new artists presented in solo or cohesive group exhibitions. Director from 1978 to 1981, Roberta Griffin was followed in that position by Sheldon Lurie in September 1981 until his death in October 1990. In the spring of 1987, the Frances Wolfson Art Gallery implemented an active exhibition program at the InterAmerican Center in the form of the InterAmerican Art Gallery. Located in the Little Havana section of Miami, the major thrust of this gallery is Hispanic art, reflecting the interests and needs of the surrounding community. Scope and Contents The records of the Frances Wolfson Art Gallery comprise 5 linear feet of material dating from 1973 to 1994. The collection contains correspondence, routine business records, exhibition files, notes, printed material, and photographs of artists, installations, and works of art, and is arranged into seven series according to material type. The bulk of the material relates to exhibitions held at the Gallery from 1977 to 1992 in exhibition files measuring 4.5 linear feet. The general administration of the Gallery is also partially documented through business records and correspondence files. Arrangement The collection is arranged as six series according to material type. Records are arranged chronologically unless otherwise noted. Missing Title: • Series 1: Correspondence, 1976-1994 (Box 1; 0.2 linear feet) • Series 2: Business Records, 1981-1993 (Box 1; 0.2 linear feet) • Series 3: Notes, 1973-1987 (Box 1; 2 folders) • Series 4: Exhibition Files, 1977-1992, undated (Boxes 1-5; 4.5 linear feet) • Series 5: Printed Material, 1974-1994 (Box 5; 5 folders) • Series 6: Color Transparencies of Artwork, 1983-1990 (Box 5; 10 items) Names and Subject Terms This collection is indexed in the online catalog of the Smithsonian Institution under the following terms: Subjects: Art, Latin American Art, Modern -- 20th century -- Florida -- Miami -- Exhibitions Artists -- Florida -- Miami Cuban American artists Latino and Latin American artists Page 2 of 18 Frances Wolfson Art Gallery records AAA.franwola Names: Azaceta, Luis Cruz, 1942- Bencomo, Mario, 1953- Chisolm, Michael Day, Larry, 1921- Dionisio, Humberto, 1950-1987 Katzen, Lila Larraz, Julio McGarrell, James, 1930- Piper, Jane, 1916- Functions: Art galleries, University and college -- Florida Page 3 of 18 Series 1: Correspondence Frances Wolfson Art Gallery records AAA.franwola Container Listing Series 1: Correspondence, 1976-1994 0.2 Linear feet (Box 1) Scope and General Gallery Correspondence primarily consists of letters regarding proposed exhibitions Contents: which were never executed. These contain between one and three letters from various artists and others including Mario Bencomo, Deborah Brown, Rosemarie Chiarlone, Luis Cruz-Azaceta (one illustrated letter), Susan Emery Eisenberg (one illustrated holiday card), Dale Eldred, Scott Hartley, Marcia Isaacson, Lila Katzen, Alice Lewis, Dan Rice, Michael J. Sastre, Tom Seghi, Alice Terry, and Regina Vater. The correspondence files for the Cultural Executives Council, Inc., InterAmerican Art Gallery, and National Foundation for Advancement in the Arts consists of letters exchanged with each institution. Arrangement: General Gallery Correspondence records are arranged alphabetically by correspondent. The Cultural Executives Councils, Inc., InterAmerican Art Gallery, and National Foundation for Advancement in the Arts are filed in their own folders. Box 1, Folder 1-18 General Gallery Correspondence, 1976-1994 Box 1, Folder 19-23 Cultural Executives Council, Inc., 1982-1986 Box 1, Folder 24 InterAmerican Art Gallery, Miami-Dade Community College, 1986-1989 Box 1, Folder 25-27 National Foundation for Advancement in the Arts, 1987-1989 Return to Table of Contents Page 4 of 18 Series 2: Business Records Frances Wolfson Art Gallery records AAA.franwola Series 2: Business Records, 1981-1993 0.2 Linear feet (Box 1) Scope and This series consists of annual reports, personnel records, travel records, a telephone log, Contents: Miami-Dade Community College Foundation accounts, invoices from Worldwide Books, and miscellaneous financial records. Arrangement: Records are arranged by subject. Box 1, Folder 28-36 Annual Reports, 1981-1989 Box 1, Folder 37 Personnel Records, 1987-1990 Box 1, Folder 38-40 Travel Records, 1981-1990 Box 1, Folder 41 Telephone Log, 1989-1990 Box 1, Folder 42 Miami-Dade Community College Foundation Accounts, 1987-1990 Box 1, Folder 43 Invoices from Worldwide Books, 1989-1990 Box 1, Folder 44-46 Miscellaneous Financial Records, 1982-1993 Return to Table of Contents Page 5 of 18 Series 3: Notes Frances Wolfson Art Gallery records AAA.franwola Series 3: Notes, 1973-1987 2 Folders (Box 1) Scope and These two folders include various artists' resumés, including those of Michael R. Chisolm, Contents: Houston Conwill, Larry Day, Ronna S. Harris, Jane Piper, Raquel Rabinovich, Michael Rossman, Eduardo Serrano Rueda, Doris Staffel, Burton E. Van Deusen, and Judith Wilson. Box 1, Folder 47 Miscellaneous Resumés, 1973-1987 Box 1, Folder 48 Miscellaneous Notes, undated Return to Table of Contents Page 6 of 18 Series 4: Exhibition Files Frances Wolfson Art
Recommended publications
  • A Finding Aid to the Jeff Donaldson Papers, 1918-2005, Bulk 1960S-2005, in the Archives of American Art
    A Finding Aid to the Jeff Donaldson Papers, 1918-2005, bulk 1960s-2005, in the Archives of American Art Erin Kinhart and Stephanie Ashley Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation. 2018 November 1 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 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1954-2004............................................................. 5 Series 2: Correspondence, 1957-2004.................................................................... 6 Series 3: Interviews,
    [Show full text]
  • Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz Richard H
    digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2018 Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard H. Chused New York Law School, [email protected] Follow this and additional works at: https://digitalcommons.nyls.edu/fac_articles_chapters Part of the Entertainment, Arts, and Sports Law Commons, Land Use Law Commons, and the Property Law and Real Estate Commons Recommended Citation Chused, Richard H., "Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz" (2018). Articles & Chapters. 1172. https://digitalcommons.nyls.edu/fac_articles_chapters/1172 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey, Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper.
    [Show full text]
  • OBJ (Application/Pdf)
    blverine April/May 1998 “Dedicated to Educating the Leaders of Tomorrow” in the AUC Les Brown to speak at Morris Brown’s 117th Commencement COLD SEASON PART II: Disability Awareness Week Les Brown By Anissa Vitalis issues of students with dis­ As the second semester of abilities, but we will not enoumed the 1997-98 academic year simply go away, nor will the comes to a close, eyes are issues. When the Wolverine motivational starting to open. The word Observer published our is finally getting out that article “Cold Season” earlier Jennifer Holliday speaker, there is a new organization this year, some persons came and office on campus that forward and the Challenge come a long way since last author and needs your help. I am refer­ Center was at least recog­ semester and have even had ring to the Students With nized. Now their eyes are the chance to celebrate Dis­ philanthropistR Les Brown Disabilities (organization) open. Because at first there ability Awareness Week will address the 117th com- and the Challenge Center seemed to be few faculty and (April 27-29). for Disabled Students. students who were deaf and The week featured a special mencement class of Morris Many persons on campus blind, people did not want to motivational convocation fea­ have chosen to ignore us or hear about disabled students turing Broadway star and Brown College 2 p.m., Mon­ have failed to deal with the or their problems. We have CONTINUED ON PAGE 2 day, May 18, 1998, at the Atlanta Civic Center. Tadpole drafted Graduating this year are an expected 250 students, by the 36 with honors.
    [Show full text]
  • Table of Contents
    Table of Contents Unit 1 Origin: Out of Africa Unit 1 Introduction . .1 Africa Map and Facts . .4 Africanisms in the English Language . .6 Literature Proverbs Traditional The Origin of African Proverbial Wisdom . .8 African Proverbial Wisdom . .10 The Folktale Traditional “All Stories are Anansi’s” . .14 “How Many Spots Does a Leopard Have?” . .20 “The White Man and the Snake” . .25 “Tug of War” . .26 “Talk” . .32 Religious Verse Akhenaten “Great Hymn to the Aten” . .38 Epic Poetry Bamba Suso from Sunjata. .46 The Autobiographical Narrative Olaudah Equiano “My Early Life,” from The.Interesting.Narrative . of.the.Life.of.Olaudah.Equiano. .54 Speaking and Listening Skills . .70 Writing Activities . .72 Focus on: Traditional African Music . .73 The Role of Music in Traditional African Culture . 75. The Rhythmical Complexity of Traditional African Music . 76. The Communal Role of Dance in Traditional African Culture . .77 The Call-and-Response Tradition . 79. Traditional African Instruments . 80. Musical Traditions That Survived the African Diaspora . 82. Unit 2 Let My People Go, 1619–1865 Unit 2 Introduction . 86 Historical Background: Slavery and the Slave Trade . .88 Literature The Autobiographical Narrative Olaudah Equiano “Horrors of a Slave Ship,” from The.Interesting.Narrative. of.the.Life.of.Olaudah.Equiano . .96 Nat Turner from “The Confessions of Nat Turner” . .104 Frederick Douglass from.Narrative.of.the.Life.of.Frederick.Douglass, An.American.Slave . .114 “What to the Slave Is the Fourth of July?” . .122 Harriet Jacobs from Incidents.in.the.Life.of.a.Slave.Girl . .130 Speeches and Letters Sojourner Truth “Ar’n’t I a Woman,” speech at the Akton Convention from Reminiscences by .
    [Show full text]
  • A Finding Aid to the Parish Gallery Records, 1940-2013, Bulk 1991-2013, in the Archives of American Art
    A Finding Aid to the Parish Gallery records, 1940-2013, bulk 1991-2013, in the Archives of American Art Rayna Andrews and Rihoko Ueno Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation. 2019/06/24 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 / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Exhibition Files, 1940-1944, 1971-2013................................................... 4 Series 2: Administrative Files, 1991-2013.............................................................
    [Show full text]
  • March 2015 Vol
    Serving ATLANTA & Suburban Areas Enjoy Crossword and Information For Ages Sudoku Puzzles at www.seniornewsga.com! 50 PLUS! TurkishTurkish artistartist keepskeeps cultureculture springingspringing forward!forward! Story on page 7 March 2015 Vol. 29, No. 3 Page 2 • March 2015 • Senior News • Atlanta Child Predator Scam preys on parents’ fear by KELVIN COLLINS Living Near You!" The email claims to But this spam isn't actually affili- linked text will say one thing, but the President/CEO, BBB of Central be a notification that "a registered- ated with Kids Live Safe. Sending link will point somewhere else. Georgia & the CSRA, Inc. child-offender has just moved into users to that website appears to be a Scammers either set up fake websites your area," and this information is way to lend credibility and distract or hack into third-party sites and use based on your "local area zipcode." from the actual scam. Clicking on the them to host malware. Keep on the lookout for an But you don't remember signing up for other link (the scam link) is enough to • The email claims to have infor- email scam that pretends to be a "com- such a service. infect your machine with malware, mation about you, but you never munity safety" alert. The email looks The email provides a link and even if you ultimately end up at a signed up for it. Scams often pretend like a warning for parents about a instructs you to click and "learn more legitimate site. Once it's on your to be personalized for you, but they child predator in the area, but it's real- about this predator-alert." If you click, machine, the malware will attempt to are actually blast emails.
    [Show full text]
  • Vol. 15, No. 9 September 2011 You Can’T Buy It
    ABSOLUTELY FREE Vol. 15, No. 9 September 2011 You Can’t Buy It Gospel Morning, 1987, Collage of watercolor, paper, and fabric on board, 28 x 31 1/4inches American Masters Collection I, managed by The Collectors Fund, Kansas City, Missouri Folk Musicians, 1942, Gouache with ink and graphite on brown paper, 35 1/2 x 45 1/2 inches Photography Courtesy of Hollis Taggart Galleries, New York, New York Curtis Galleries, Minneapolis, Minnesota Art©Romare Bearden Foundation/Licensed by VAGA, New York, New York Art©Romare Bearden Foundation/Licensed by VAGA, New York, New York Art©Romare Bearden Foundation/Licensed by VAGA, New York, New York Mother and Child on Shore, 1979, 9 5/8 x 12 5/8 inches, Watercolor on Paper Photo Courtesy of Jerald Melberg Gallery, Charlotte, North Carolina Photograph ©Frank Stewart Photography Art©Romare Bearden Foundation/Licensed by VAGA, New York, New York Grand Case Boat - St. Martin, 1984, 25.5 x 19.25 inches, Watercolor on Paper Photo Courtesy of Jerald Melberg Gallery, Charlotte, North Carolina Photograph ©Frank Stewart Photography Romare Bearden (1911-1988), Dreaming About Miss Anne & Lulu Belle, 1981, Collage on Board, 5 7/8 x 9 7/8 inches Romare Bearden (1911-1988) Evening,1985 Collage and Watercolor on Board 14 x 12 inches These images are from the exhibits: “Romare Bearden: Southern Recollections,” on view at the Mint Museum Uptown (top), from Sept. 2 - Jan. 8, 2012; “Paper Trail: Romare Bearden Works on Paper,” on view at the Harvey B. Gantt Center for African-American Arts + Culture (middle), from Sept.
    [Show full text]
  • Four Seasons Hotel Atlanta Welcomes Art Exhibition Atlanta Artists Will Be Featured Throughout Hotel on a Quarterly Rotation
    Four Seasons Hotel Atlanta Welcomes Art Exhibition Atlanta artists will be featured throughout Hotel on a quarterly rotation November 22, 2016, Atlanta, U.S.A Four Seasons Hotel Atlanta, the city's only AAA Five-Diamond, Forbes Five-Star hotel, recently launched an art exhibition featuring Atlanta artists Kim Chesney, Eric Mack, Ronald Sullivan and Andrea Baetti. The artwork is on display in the Hotel’s public spaces, including Savannah Hall and Park 75 restaurant, both located on the Hotel's third floor. "I'm thrilled about our art exhibition initiative," General Manager Yvette Thomas-Henry said. "Each piece will bring a new aesthetic to the Hotel that will complement our artful location in Midtown. We're expecting an incredible array of work for our guests to enjoy and or purchase." As part of the program, Four Seasons hosts an art stroll event at the beginning of each quarterly rotation. These events welcome the public to mingle with the featured artists while experiencing their work throughout the Hotel. After studying art around the world, Kim Chesney began showing her work in 2008. She has since gained mass recognition and her work hangs in a variety of private collections around the globe. She has been featured on several morning talk shows and in local publications. Additionally, three of her oil paintings are featured in 20th Century Fox's new film Keeping Up with the Joneses, starring Jon Hamm and Zach Galifianakis. Eric Mack's success has followed him since his graduation from Atlanta College of Art in 1998, most notably when the High Museum added his piece SRFC-91 to its permanent collection in 2014.
    [Show full text]
  • Save the Date! Annual Meeting and Luncheon
    National Association Of Women Artists SPRING 2008 NAWASAVE THE DATE! Invitation and Reservation Coupon will be coming soon! ANNUAL MEETING AND LUNCHEON Thursday, May 29th, 2008 12:30 PM to 3:30 PM The National Arts Club 15 Gramercy Park South NewYork, N.Y. 10003 $50.00 per guest The Annual Meeting will take place before the luncheon begins. This is the Annual Business Meeting to announce the election of the new Directors and the Officers of N.A.W.A., and for the Treasurer to deliver the financial report. Luncheon co-chairs are Arlene Horton and Muriel Sandler. Newsletter Staff are Editor, Nancy Dann and Publisher, Harriet E.Phillips Menu Speaker: MARGARET KRUG is a FOR YOUR INFORMATIONN The staff encourages contributions to these pages. Endive Salade with Toasted Pine Nuts painter with an MFA from the School of The articles must be related to women in the arts. the Art Institute of Chicago. Also a Senior THESE ARTICLES ARE TO BE TYPED ON 8 1/2/X 11 SHEETs OF PAPER, and a Gorganzola Vinaigrette. Lecturer at the Whitney Museum and DOUBLE SPACED AND MAILED TO: Broiled Salmon on a Bed of Julienne Vegetables with MOMA Pass NAWA ARTICLES - Harriet Phillips 90 Country Club Drive, Florida, NY 10921 Adjunct Professor of Painting and Lemon Caper Sauce or The Museum of Modern Art or email Nancy Dann at [email protected] Drawing at Parsons School of Design in 11 West 53rd Street DO NOT SEND THE ABOVE MATERIAL TO THE NAWA OFFICE Boneless Breast of Chicken Provencale or Vegetarian Platter.
    [Show full text]
  • Conceptualizing African-American Art: the Market, Academic Discourse and Public Reception
    CONCEPTUALIZING AFRICAN-AMERICAN ART: THE MARKET, ACADEMIC DISCOURSE AND PUBLIC RECEPTION Shawnya L. Harris A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art Chapel Hill 2012 Approved by: Lyneise E. Williams John P. Bowles Jan Hannig Carol Magee Hans Van Miegroet © 2012 Shawnya L. Harris ALL RIGHTS RESERVED ii ABSTRACT SHAWNYA L. HARRIS: Conceptualizing African-American Art: The Market, Academic Discourse and Public Reception (Under the direction of Dr. Lyneise E. Williams) The concept of an ‘African-American art market’ presents a new field of scholarly inquiry. However, objects labeled and fashioned as ‘African American art’ allude to a broader visual culture composed of objects, buyers, sellers and critics than previously acknowledged in scholarly literature. This dissertation will provide a nuanced picture of how an ‘African-American art market’ has been conceptualized and how this understanding reflects a complex web of tensions and relationships between objects, consumers, sellers and even scholars and critics of the work. Since the current literature on the field of African- American art provides only scant attention to the consumption of African-American art and virtually nothing about its place in the art market, this study will demonstrate how art historians could critically interpret African-American art in relation to market dynamics through an investigation of art related publications, oral interviews, public display venues. iii ACKNOWLEDGMENTS The undertaking of writing a dissertation is a complex one in concept, process and completion, yet not without the involvement of several players, who may or may not know the power of their influence on this work and hopefully more work to come.
    [Show full text]
  • Summative Evaluation
    Assessment of the Field: African American Cultural Organizations Research report prepared for: the Association of African American Museums Assessment of the Field: African American Cultural Organizations (with collections) Commissioned by Association of African American Museums (AAAM) (www.blackmuseums.org) CONTENTS Executive Summary . 1 A. Overview of African American Cultural Organizations . 5 1. Organizational structure 2. Geographic distribution 3. Growth of new African American organizations 4. Facilities 5. Staffing 6. Finances 7. Use of technology B. Service to the Public . 18 1. Open to the public 2. Visitation 3. Public programs C. Collections . 24 1. Size of collections 2. Permanent exhibitions 3. Collections policies 4. Temporary exhibits 5. Types of collections D. Looking Forward . 34 1. Institutional needs 2. Institutional associations E. Appendix 1. African American Cultural Organizations . 38 that participated in the survey prepared by Jeff Hayward, Ph.D. & Brian Werner, Ph.D. People, Places & Design Research Northampton, Massachusetts September, 2008 National Survey of African American Cultural Organizations Acknowledgements The Association of African American Museums gratefully acknowledges the following for their invaluable support for this historic project, without which the project would not have been a success: Institute of Museum and Library Services: Anne-Imelda M. Radice, Ph.D., Director, IMLS staff: Schroeder Cherry, Ed.D., Chris Reich and Twinet Kimbrough Project Technical Consultant: Deborah Mack, Ph.D. /The Museum Group Members of the IMLS/AAAM National Museum Survey Advisory Committee: Ms. Terry Davis /American Association for State and Local History Larry Earl, Jr. /Houston Museum of African American Culture Jeffrey Harris /National Trust for Historic Preservation (retired) Ms. Charmaine Jefferson /California African American Museum Lewis Myers /The Freelon Group Ms.
    [Show full text]
  • The Year in Black Art 2018
    Culture Type: The Year in Black Art 2018 culturetype.com/2019/01/15/culture-type-the-year-in-black-art-2018/ Victoria L. Valentine IN MANY WAYS, 2018 was a watershed year for black artists. Overdue recognition of art by African American artists and black artists from throughout the world, continued to grow among collectors, curators, critics, scholars, and gallery owners. There were many indicators of the ever-expanding institutional and market interest. European attention on African American artists rose. In the United States, major museums dedicated prime gallery space to huge exhibitions. Retrospectives of Charles White (1918-1979), Adrian Piper, and Howardena Pindell traveled the country in 2018. Presenting stunning self portraits by South African photographer Zanele Muholi, “Somnyama Ngonyama, Hail the Dark Lioness” made its U.S. debut at the Spelman College Museum of Fine Art, where an earlier exhibition, “Deborah Roberts: The Evolution of Mimi,” raised the profile of Roberts, whose figurative collages explore race, beauty, girlhood, vulnerability and power. Mid-career, Roberts came into her own in 2018. As did Simone Leigh. Known for her ceramic works, Leigh won the Guggenheim’s $100,000 Hugo Boss Prize. She was the first black artist to do so. Hamilton, Canada-born Kapwani Kiwanga was also the first black artist to win the National Gallery of Canada’s Sobey Art Award, which includes 100,000 Canadian dollars. Then, Titus Kaphar is named a MacArthur “genius” fellow, an honor that includes a $625,000 grant. Several artists joined the rosters of so-called mega galleries in 2018, including Amy Sherald and Charles Gaines at Hauser & Wirth, Njideka Akunyili Crosby and the estate of Roy DeCarava at David Zwirner, and Theaster Gates at Gagosian.
    [Show full text]