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Found 2,732 Resources

Kuvale Sound Effects for Cinema, July 7, 1971 [sound recording]

National Anthropological Archives
Also available as copy on 5 inch sound tape reel, 3 3/4 ips (71-R-18)

71-R-10 Women at work grinding grain to accompany movie (not simultaneous); Kuvale songs, Mesquito and two women.

John Kascht, artist talk

National Portrait Gallery
Caricature artist John Kascht discusses his portraits of Alan Greenspan and Warren Buffett that are currently on view in the exhibition "Twentieth Century Americans."

Michael J. Fox portrait, Face-to-Face talk

National Portrait Gallery
Ann Shumard, curator of photographs at NPG, discussed this portrait of Michael J. Fox by Steve Pyke.

Sonam Dorji of Bhutan

Smithsonian Center for Folklife and Cultural Heritage
Bhutan, a small nation nestled between India and China, was one of the featured programs of the 2008 Smithsonian Folklife Festival on the National Mall in Washington, DC. Bhutanese musician Sonam Dorji joins Smithsonian Folkways Associate Director Atesh Sonneborn and host Sam Litzinger on the Festival grounds in a discussion about the music, people, and culture of Bhutan, the "Land of the Thunder Dragon."

A Conversation with Alice Waters

National Portrait Gallery
A Conversation with Alice Waters

Salinan Sound Recording 30 AUG 1936

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

Disc Note

Aluminum disc

Cubeo Songs, Vocabulary, Myths, and Chants in Vaupés, December 1968 [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Labeled Vaupés 22 Side 1: (A) Vocabulary [0-80]; Side 2: (B) Hehenewa origin myth and chant, by Marcelino [20-50]; Naming chant [50-60]; Mianawa[?] general origin chant, by Elias [60-end]

Miwok Sound Recording DEC 1940

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

Disc Note:Jpm List:JPH Lr 09 Jan 1941

Aluminum disc

Kiriwinian #24 [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Ponape II Old Songs, Gavin Riesenberg, November, 1966 [sound recording]

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Salinan sound recording 08 OCT 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Aluminum disc

Himba Music and Songs, July 6, 1971 [sound recording]

National Anthropological Archives
Also available as copy on 5 inch sound tape reel, 3 3/4 ips (71-R-18). Additional copy on sound cassette (60 min.) 72-K-15

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

DT CL

Disc Note:Aeh List

SEE CHU 0158, 0160, CHU CT34:CHU CT35, 7.50IPS, NARS

Aluminum disc

Sound recording APR 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Disc Note:Jpm List

Aluminum disc

Miwok Sound Recording DEC 1940

National Anthropological Archives
Digital audio file produced from 1/4" open reel tape copy.

Disc Note:Jpm List:JPH Lr 09 Jan 1941

Aluminum disc

Alsea Sound Recording MAY 1941

National Anthropological Archives
SC

Disc Note:Jpm List:JPH Lr Marr Alsea Texts and Myths; Frachtenberg, Leo J; BAE Bulletin 67, 1920

Aluminum disc

Sound recording APR 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Disc Note:Jpm List:JPH Lr Marr

SEE CHE 0008, 0010-0012

Aluminum disc

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

DT CL

Disc Note:Aeh List

SEE CHU 0206-0209 CHU CT85, 7.50IPS, NARS

Aluminum disc

Sound recording JUN 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

DT SC CL

Disc Note:Jpm List:JPH Lr Marr Kathlamet Texts; Boas, Franz; BAE Bulletin 26, 1901

SEE COO 0014, 0016, 0017 COO CT29, 21 MINS:COO CT30, 21 MINS, 7.50IPS

Aluminum disc

Sound recording MAR 1941

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

DT SC CL

Disc Note:Jpm List:JPH Lr Marr

SEE GAL 0002 GAL CT1, 19 MINS:GAL CT2, 17 MINS

Aluminum disc

Sound recording 04 AUG 1936

National Anthropological Archives
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

SC

Disc Note:Aeh List

SEE CHU 0162, 0163, 0165, 0166-0169 CHU CT40:CHU CT41, 7.50IPS, NARS

Aluminum disc

Ponzi's Scheme

Smithsonian Institution

Nearly 100 years ago, Charles Ponzi stumbled across a loophole in the international postal system and turned it into one of the most infamous scams of all time. This time on Sidedoor, we follow Ponzi from his early days until his epic downfall, and hear from a postal investigator trained to catch swindlers like Ponzi who continue to use the U.S. mail for nefarious purposes.

Oral history interview with Robert O. Preusser, 1991 January-October

Archives of American Art
Transcipt: 106 pages

An interview of Robert O. Preusser conducted 1991 January-October, by Robert F. Brown, for the Archives of American Art.

Preusser discusses the establishment of an art department at the Massachusetts Institute of Technology and his involvement with it first as a visiting lecturer and then as a professor of visual design. He speaks often of Gyorgy Kepes, whom he had known at the Institute of Design, Chicago, in the early 1940s, and who recruited him to M.I.T; he also discusses other faculty members, like Minor White, professor of photography. He gives attention to his courses at M.I.T., 1954-1985; early computer design projects by students; his writings on the importance of visual arts to technology; and his supervision of educational programs at M.I.T.'s Center for Advanced Visual Studies, 1974-85. An extensive part of the interview is held in an exhibition of Preusser's work at the M.I.T. Museum (April 4, 1991), discussing in particular his incorporation of various plastic and metallic materials in his works from the 1960s and 1970s. He speaks as well of the importance of his inclusion in group exhibitions at the Downtown Gallery, New York, ("Newcomers," 1951, and "Recent Arrivals, 1952) and the Institute of Contemporary Art, Boston ("Collectors Exhibition," 1954), and of his exhibitions at the Boris Mirski Gallery and the Joan Peterson Gallery, Boston, during the 1950s and 1960s, and at various galleries in Houston during the 1980s. Other topics of discussion are his early art instruction in his native Houston, Texas, by the painter Ola McNeill Davidson, 1930-39; further training in painting and design at the Institute of Design, Chicago, 1930-39, 1941-42; Newcomb School of Art at Tulane University, 1940-41; service with a camouflage unit in the U.S. Army, 1942-45; classes at the Art Center School, Los Angeles, 1946-47; his teaching at the School of the Museum of Fine Arts, Houston, 1947-54, and at the University of Houston, 1951-54, and his role as co-director of the Houston Contemporary Arts Association, 1948-50.

Oral history interview with Robert Rauschenberg, 1965 Dec. 21

Archives of American Art
Transcript: 31 pages.

An interview of Robert Rauschenberg conducted 1965 Dec. 21, by Dorothy Seckler, for the Archives of American Art.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers' teaching and his resulting inability to do work focusing on pain, struggle, or torture; the 'lifetime' of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work "Map Room Two;" his white paintings; and his disapproval of value hierarchy in art.
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