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Julia Dawson papers

  • ASM0538
  • Collection
  • circa 1970s-2010s

Julia Dawson is a feminist activist and retired lawyer born and raised in Miami, Florida. Through correspondence, documents, ephemera, and other records, this collection documents Dawson's activism, organizational work, and campaigns from the 1970s through the 2010s around feminism, civil rights, and LGBTQ+ rights. Organizations and campaigns represented in this collection include: National Organization for Women (NOW); Dade County Chapter of the Florida Association for Women Lawyers; SAVE Dade (LGBTQ+ rights activism); American Civil Liberties Union Miami Chapter (ACLU), including the ACLU Miami Chapter’s Police Practices Committee (PPC); Miami Clinic Access Project (reproductive rights); Miami Workers Center (MWC); and Serve the People.

Sans titre

Andreyaa Hora artist sketchbooks collection

  • ASM0716
  • Collection
  • 2008-2019

The Andreyaa Hora artist sketchbooks collection consists of Hora's complete works in sketchbooks from the period 2008 to 2019.

Collection description, provided by Martin Tsang, Curator of Latin American Collections:

The fifteen sketchbooks that represent a significant portion of the artist’s work, to date, include an incredible variety of media - drawings, prints, quotes, gathered materials such as clippings and test pieces. The themes present in the pages of the books refer to and draw upon numerous Afro-Atlantic traditions, including Haitian Vodou, Brazilian Candomblé, Cuban Lucumí, as well as Yoruba, Fon, and Kongo ethnic and spiritual African sources. There is inspiration, for example, from specific orishas such as Oyá, the transformative goddess of the Harmattan winds, the marketplace, and owner of the cemetery gates, as well as more elusive traditions including Santa Muerte. In Andreyaa Hora's sketchbooks, Caribbean and Latinx artists are present and referenced as wellsprings of inspiration, as are European, Asian, and Indigenous connections. The sheer variety of media shows how the artist works out her ideas on paper and devises approaches to best convey matters of the spirit, the mind, and the body. The sketchbooks offer a tantalizing and inspirational glimpse into the creative processes of making the abstract concrete and beautifully demonstrate and bring to life the many deities who travel between and beyond Africa, the Americas, and the entire world. The books reflect a deep spiritual connection to the divine as captured by the hand and heart of someone who is careful and concerned with safeguarding ritual knowledge while utilizing a wealth of techniques that help bring art to life.

Artist's statement:

"My interest in art began early for me. From the age of eleven, I began taking art lessons in school in my hometown of Ilheus, in the state of Bahia, Brazil. My father, an architect, was a tremendous influence on my style and his work blueprints helped me understand and define spaces through lines, shapes, and forms. Through watching my father work and under his tutelage, I gained an appreciation of geometry and scale and working on paper to create pieces that could be developed into larger pieces, and also the importance of playing with materials and experimenting with forms. This early start in and out of school led me to further my abilities by taking private lessons with local artists that helped challenge my abilities and ways of seeing. Ultimately, these artists fostered inside me an abiding fascination with art that continues to this day.

I continued my studies at the University of La Rochelle, France and continued my practice under the guidance of local artists engaging with painters across the Niort region. In 2008 I became deeply interested in printmaking, inspired by the work of David Jones and Eric Gil whose work I saw in Wales in the UK. This period was a pivotal moment for me as this medium became my anchor in my mode of artistic expression. From this time, I also explored and embraced digital media and developing artistic technologies to further my methods. Viewing the work of James Jean was my inspiration to venture and experiment in new realms.

It was while studying and working on art in Europe that I began to appreciate the history and migrations that created the Lusophone Atlantic movements over the centuries. Through my art I started to explore and express facets of my Brazilian culture and my work is heavily inspired by deities of the African descent actively worshiped in Brazil and many countries of the Americas through the project of Trans-Atlantic slavery. The orishas - the pantheon of gods and goddesses are greatly present in my art and I explore ideas of contact and strategy of religious expression with references to deities in other African derived religions, indigenous beliefs, and the inclusion or transformation of European deities and philosophies by practitioners. I am particularly interested in exploring ideas, effects, and the presence of LGBTQ practitioners and how these are reflected in images of the divine in these Afro-Atlantic religions. I became fascinated by cordel - woodcut printed literature production of artists who I worked with in northeast Brazil. As an orisha priest and practitioner, I have devoted a considerable amount of my artistic output to creating works that reflect these deities in different methods drawn from these methodologies and my work is often commissioned by practitioners and my art now represents a movement of signifying worship in private and public ways.

I use a variety of printmaking techniques. I use manual techniques such as woodcut and linoleum which give my art a homely, rustic feel reminiscent of the art of Northeast Brazil which is close to my roots. I also use digital painting techniques that are rich in texture and colours. Whichever method I use, I start by sketching out my ideas in my notebooks which record my thought processes and studies much in the same way as a filmmaker would create a storyboard. From the outset, sketchbooks are key to my art process as they are a place to gather information: quotes, photos taken from a variety of places, works from the myriad of artists who inspire me, old and new. My sketchbooks have been shared with very few people as I am a perfectionist I would rather show a finished piece. My books represent the unfinished and undone, even messy work that includes my sketches and some are uncomfortable or dark visual thoughts, things that I feel I need to have an outlet for however I know will probably not make it into my exhibited works.

I create art because it is an intrinsic part of who I am and what I do. I couldn’t put into words what compels me to do it – I cannot imagine doing anything else. I take inspiration from folklore, music and the world around me and the world inside of me with all its contradictions, queerness, and search for the divine."

Sans titre

Alberto Sisso photography collection

  • ASM0734
  • Collection
  • circa 1970s-1985

A collection of 47 black and white prints (17 x 11 in.) of Alberto Sisso's photography. Notable prints include scenes around Venezuela, and prints from the following photo projects, "Metamorphosis," "Being There," and "Nuevos Espacios." Descriptions by Alberto Sisso for each photo project represented in this collection can be found below:

"Metamorphosis"

"The pictures on this series depict a group of artists getting ready for a play about the legacy of Florence Foster Jenkins. Ms. Jenkins was many things, but overall, she represents the freedom to be who you are. Although, she was the recipient of some of the silliest music criticism of all time; she became an icon for standing your ground regardless of what others might think.

These images take this message a step further by challenging traditional gender roles and emphasizing the universal themes of Jenkins' story. By casting men in the role of Jenkins, the images showcase the power of individual expression and the freedom to be oneself, regardless of gender identity or societal expectations. Men dressing as women in Latin America in the 1970s was not visible or accepted. These scenes were linked to an underground movement that supported the LGBTQ+ communities, and that often met with stigma and discrimination.

In Metamorphosis, I thrived to expose the deep melancholy of the moment, as well as the enduring love for the magnificent theatrical gesture. I looked for images that capture the bond between the artist and the person's essence. The looser frame allowed me to create compositions that transcended the image from its ordinary status into something unique. With each take I was hoping to deliver a particular emotion, kind of a blend of something classic with an everlasting experience. A way in which we can all see ourselves echoed in, not as a cliché nostalgic approach, but more in a reflective manner.

Depicted in these photographs are:

• Manuel Carvajal: stylist and make-up artist.
• Isabel Palacios: well-known mezzosoprano and director of several choruses.
• Francisco “Pancho” Salazar: director, musician.
• Alfredo Silva: poet.
• Jose “Cheo” Vaisman: pianist, director of Teatro Teresa Carreño."

"Nuevos Espacios"

"In the 1980s, the art scene in Caracas was booming, and the Contemporary Art Museum was at the forefront of the movement. Led by her director, Sofia Imber, the museum embarked on a much-needed expansion project, named Los Nuevos Espacios, which would go on to become an iconic institution in the city.

Imber was a trailblazer in the art world of Venezuela, and her dedication to promoting and supporting Venezuelan artists was evident throughout her career. Under her leadership, the Contemporary Art Museum became a hub for the country's avant-garde art scene, showcasing the works of both established and up-and-coming artists.

I had the privilege to document the night of the inauguration of Los Nuevos Espacios. It was a momentous occasion, and one that would go down in history. The walls of the museum were filled with the work of some of the most prominent artists of the time, including Alejandro Otero, Jesús Soto, and Carlos Cruz-Diez; and its corridors where packed with the best of the Venezuelan society. Representatives from the artistic milieu, politicians, entrepreneurs, and mainly art supporters and art lovers were present to bear witness of the making of the country’s modern history (the captions on each image list the names of some of the personalities in attendance).

Imber, beaming with pride, took the podium to give a speech, expressing her gratitude to everyone who had made the project a reality. For her, the expansion of the museum was more than just a physical transformation. It was a symbol of the evolution of Venezuelan society and the country's commitment to promoting and celebrating its cultural heritage. The museum was a testament to Imber's lifelong dedication to the arts and her unwavering belief in the power of creativity to transform communities. Imber's legacy continues to inspire and influence the arts in Venezuela, it lives on through the museum and the countless artists whose careers she helped launch. Sofía Imber was a visionary and true champion of the arts.

This series stand tall as a testament of the cultural memory of Venezuela, reminding future generations of the impact that Nuevos Espacios and Imber had on the art world."

"Being There"

"Jerzy Kosiński was a Polish-American writer who was known for his novels, including "Being There" and "The Painted Bird." In the 1980s, he was invited to Venezuela by the Diego Cisneros organization to participate in a cultural exchange program. As part of this program, Kosiński visited the Museo de Arte Contemporáneo in Caracas, which is one of the most important museums of contemporary art in Latin America, a must see stop and a city pride for all Venezuelans.

Kosiński's visit to Venezuela was part of a larger effort by the Diego Cisneros organization to promote cultural exchange between Venezuela and the United States. His visit to the Museo de Arte Contemporáneo was a significant cultural event, and it helped to strengthen the ties between the two countries in the realm of the arts. This series documents that visit."

Sans titre

L.G. Hartwell collection

  • ASM0093
  • Collection
  • 1934-1979

Leola G. Hartwell was an architect who resided in New Jersey and Miami. The L. G. Hartwell Collection consists of materials documenting her architectural design work primarily in the greater Miami area, but also some in other parts of the state and the country at large. Among projects that Hartwell worked on include the construction of Miami Dade Community College South Campus, a number of different constructions for the City of Miami, and an Opa-Locka neighborhood facility project.

Sans titre

Papal Visit collection

  • ASM0241
  • Collection
  • 1987

This collection contains materials documenting Pope John Paul II's visit to Miami, September 10-11, 1987. It includes photographs, memorabilia, newspaper clippings, special edition periodicals, and posters. The collection was compiled with donations from various people working at the University of Miami's Otto G. Richter Library. The photographs in this collection were taken by members of the Otto G. Richter Library staff during the Papal visit. They were donated by Georgina Golik, Ana Rosa Núñez, and Blanca Herrera Torres.

Sans titre

Constantin and Georgeta Arămescu papers

  • ASM0017
  • Collection

The papers of Romanian artists Ticu Arămescu and his sister, Gigi Arămescu Anderson, contain exhibit programs, newspaper clippings, photographs of Gigi's paintings and of Ticu's sculptures. Newspaper clippings from Crónica, The Miami News, and Romanian newspapers, dated 1966-1981, cover exhibitions of the artists' works.

Exhibition programs from the Norton Gallery and Miami Museum of Modern Art document individual and joint showings. The papers also contain photographs of Ticu Aramescu's sculptures and of Gigi's paintings. Photographs also include several of Gigi Aramescu's presentation at Drury College in Springfield, New Jersey as well as sculpture and paintings from her home. Titles identify most of the photographed artworks.

Sans titre

Kauffman Collection of Mississippi papers

  • ASM0108
  • Collection
  • 1799-1893

The Kauffman Collection, comprised of the Mississippi papers, pertains to three generations of plantation families in southwestern Mississippi. The papers were first received in four wrapped bundles, or packages.

The first package of documents are those of Dr. John F. Carmichael produced from 1800 to 1845. The majority of these manuscripts date from the 1820s, but there is a good distribution of items from 1800 to 1837, the year Carmichael died. The last dated item, produced in 1845, is the distribution of Carmichael's own estate, as written by his nephew John Carmichael Jenkins.

These papers give a limited view of life in early Mississippi when it was part of West Florida, the Mississippi Territory, and after it became a state. As there is not much lengthy correspondence involved, it is difficult to obtain a deep understanding of activities around that time. The papers do, however, show that the early settlers in Mississippi were in rather dangerous and isolated territory; floods and disease were quite common, and food was simple and not in ample supply. The numerous receipts are effective in demonstrating the lifestyle of the people; what was bought and sold in the area indicates the degree of comfort in which the residents lived.

The quality of the materials themselves runs from fair to poor. Many items have pages missing or are torn, holed, brittle, and stained, some beyond easy identification. Most of the papers are small, single-paged items, but the legal documents and manifests are usually oversized and lengthy.

The second package in this collection is related to Dr. John Carmichael Jenkins, the nephew of the aforementioned John Carmichael. The materials were produced from 1827- to 1869. The bulk of these papers were written between 1835 and 1855, the years Jenkins lived in Mississippi. There are, however, two items which date from his years in Pennsylvania, and a copy of a sharecroppers' lease in 1869 for the Beverly Plantation, which apparently was in the control of Dr. Jenkins' elder son, John Jenkins, Jr.

These manuscripts are useful in understanding the business and social climate of the expansive and antebellum periods in Mississippi. They are more diverse and detailed than the letters to Carmichael. They show the lifestyle one would experience as a middle-class Southern farmer of the 1840s and 1850s.

The condition of the material is fair to good; most of the items are intact and only slightly faded. Colored paper is still in good shape, but the handwriting becomes harder to decipher than on the yellowed white paper generally used. Occasionally there is a page missing from a long letter, but almost everything is complete.

The third package of the Kauffman Collection contains those papers relating to Judge Josiah Winchester. These papers were produced from 1849 to 1893. There are many unsigned and undated drafts of letters, mostly dealing with Chinese labor immigration and miscellaneous notes and accountings.

These items were produced mostly from 1856 to 1888, with a thinning of the material from 1860 to 1865, during the Civil War, and again from 1874 to 1880. The earlier papers were probably left with this collection as received, the more important documents relating to wartime being removed. A single document from 1849 was received in this package, but it concerns lands belonging to the Bank of the United Sate (Pennsylvania) and probably not relative to Winchester. There are also a printed map of Adams County, Mississippi, and a length typewritten draft of a proposal sent to Congress concerning levee construction along the Mississippi, and a lengthy typewritten draft of a proposal sent to Congress concerning levee construction along the Mississippi River. These date from around 1893, five years after all documents with Winchester's name ceased to appear.

These documents are somewhat helpful in understanding legal procedure and domestic law during the 1860s and 1870s. Many of the receipts and bills are printed with handwritten inserts; the stationary shows some the flair of the period with its lettertype and occasional engravings.

The condition of the material is in a quite good state of preservation. There are few holed or brittle papers, and the ink quality has been retained. Unfortunately there are some incomplete letters and documents, some unsigned, and many undated.

The fourth and final package in this collection is the most fragmented. Here are papers and documents that are in disarray, belonging mostly to six groups. The papers of S.J. Hoggatt all relate to Judge Winchester: Winchester was Hoggatt's attorney. When the collection was received, however, these papers were separate from the rest of Winchester's correspondence. Most of Hoggatt's papers are letters to Winchester or bills received and paid through an account with the attorney. The period covered runs from 1870 to 1888.

The letters of the Dunbar family total seven items, running from 1799 to 1850. These probably belonged to Annis Dunbar Jenkins, but they too were separated from the Jenkins package when received. The Morgan Company and Morgan family papers, and an inventory concerning a lawsuit between family members over the ownership and distribution of George Morgan's estate.

The United States Bank at New Orleans seems to have been a part of the Bank of the United States in Pennsylvania; several of the tax receipts in the Jenkins collection belong with these papers concerning land deals and business transactions in Mississippi. Most of these items are business letters for the secretary for the bank trustees in Philadelphia to their agent, A. C. Ferguson, in Natchez. The time covered is from 1837 to 1866, but the majority of these papers were produced in the late 1850s.

The final group in the package consists of miscellaneous material relative to Mississippi. They run from 1803 to 1869, and some actually belong in Carmichael's, Jenkins', or Winchester's papers, but for some reason they were placed in this package when received. Other items in this group are single letters or unidentified notes which have nothing to do with the principle persons in this collection.

These papers are generally useful in understanding the activities of specific groups on a smaller scale. The Harris family letters give insight into the way of life experienced by poorer Mississippians after the Civil War. The Morgan family legal case demonstrates the greed and desperation for wealth after the collapse of the Southern economy during Reconstruction.

The material is in good condition except for the oldest of the papers, those being the Dunbar letters and a few of the miscellaneous papers from the early 1800s.

Sans titre

Urban Environment League records

  • ASM0388
  • Collection
  • 1985-2012

The Urban Environment League is a non-profit organization originally created in 1996 under the leadership and guidance of Gregory Bush, a professor at the University of Miami's History department and the Institute for Public History. The organization is dedicated to promoting safe and responsible practices in urban development in Miami-Dade through education and by advocating for environmental reform and legal protections for historical landmarks. Their records contain several issues of their internal newsletter, the Urban Forum; membership lists; minutes; correspondence; pamphlets; flyers; brochures; periodicals; research files on historical landmarks in Greater Miami, and urban planning; financial records; administrative files; ephemera; audio-visual materials (floppy disks and negatives); and legal files.

Sans titre

Peggy A. Phillips collection

  • ASM0255
  • Collection
  • 1989-1991

Dr. Peggy A. Phillips was a history professor at the University of Miami. Her collection contains materials from three of her history courses, two undergraduate and one graduate, where students were asked to interview a World War II veteran and compose an oral history report based on that interview. The materials include essays, transcripts, audio recordings, and videocassettes.

Sans titre

Helen S. Sternfels papers

  • ASM0186
  • Collection
  • 1864-1942

The Helen S. Sternfels Papers contains the following items:

A number of turn of the century programs and playbills from New York playhouses such as 14th Street Theatre, Academy of Music, American Theatre, Broadway Theatre, Criterion Theatre, Grand Opera House, Harlem Opera House, Manhattan Opera House, Manhattan Theatre, and others.

A series of issues from the Puck and Judge humor and satire magazines, from the late 19th century.

Several souvenir books and song books.

An issue of the New York Times Jubilee Number, September 18, 1901, an issue of the New York Daily Times, September 18, 1851, a souvenir issue of The World Paper, 1903, celebrating the construction of the Williamsburg Bridge, and an issue of Harper's Weekly Journal of Civilization, April 2, 1864, an April Fool's issue on the Civil War with cartoons by Thomas Nast .

Eugene Provenzo collection

  • ASM0572
  • Collection
  • 1978-1994

Jesse Wooley was a professional photographer from New York who visited Florida in 1896. Wooley used his trip to create a stereopticon or lantern-slide lecture about Florida. Several of these lantern slides were colored.

The Eugene Provenzo Collection contains a manuscript by Provenzo and William E. Brown titled "From Ice to Snow to Flowers and Fruit: Jesse Wooley's 1896 Tour of Florida." The manuscript by Provenzo and Brown aimed to reproduce this lantern-slide lecture with the original lecture notes, as well as to provide a historical analysis of lantern slide lectures and a biographical essay on Jesse Wooley. The collection also contains correspondence regarding the manuscript, duplicate pages of the manuscript, research documents and notebooks, photographs and photographic slides taken of the surviving lantern slides, clippings, articles, and other documents.

Sans titre

Dorothy J. Fields papers

  • ASM0761
  • Collection
  • 1948-2020

This collection contains audio-visual materials, clippings, periodicals, certificates, oversized materials, and research materials compiled by Dr. Dorothy J. Fields.

Sans titre

Joseph Kelleher collection

  • ASM0112
  • Collection

This collection contains materials related to Treasure Cay and Abaco Islands of the Bahamas and maps of Florida and Arkansas.

Sans titre

Jay A. Weber papers

  • ASM0428
  • Collection
  • 1921-1923

The Jay A. Weber Papers contains two notebooks on the collection of birds, as well as some other animals, in Florida and in Cuba.

Sans titre

George W. O'Connor papers

  • ASM0145
  • Collection
  • 1970-1973

Dr. George W. O'Connor was a criminal justice professor at the University of Miami, also active with the Center for Urban Studies. He also served as director of the Professional Standards Division of the International Association of Chiefs of Police.

The George W. O'Connor Papers consist of documents pertaining to his work in both academia and in the public sector. Many of the papers are concerned with criminal justice, firearms control, court structure and operation, local Floridian court systems, and correctional institutions.

Sans titre

James Hutchinson Exhibition Catalog collection

  • ASM0308
  • Collection
  • 1974-1975

The James Hutchinson Exhibition Catalog collection includes catalogs for an exhibition of Seminole Indian paintings by James Hutchinson at the Lowe Art Museum.

Ralph Harris papers

  • ASM0532
  • Collection
  • 1930-1962

Dr. Ralph Harris was a University of Miami carillonneur and member of the Iron Arrow Honor Society. His papers consist of awards, certificates, letters, reports, a commemorative plate, press releases, notebooks, and programs of his carillon performances.

Ralph E. Shikes Papers

  • ASM0180
  • Collection
  • 1800-1900

The Ralph E. Shikes papers consists primarily of letters to and from Camille Pissarro, a French-Danish Impressionist painter. In addition, the papers contain Mr. Pissarro's will.

This collection also contains papers and letters from other artisits, such as Vincent Van Gogh, as well as various photographs, negatives, postcards, and a thesis written by Alexander Seltzer covering the topics of anarchism, antisemitism, the press and the Dreyfus affair.

Janet Reno papers

  • ASM0314
  • Collection

Janet Reno (1938-2016) was born in Miami, FL and was an American lawyer, the first woman to serve as State Attorney for Florida (1978-1993), and first woman to serve as Attorney General of the United States (1993-2001). Her papers include personal correspondence and files, topic files, campaign materials, court documents, newspaper clippings, speeches and typescripts, ephemera, and other assorted documents, as well as videotapes, photographs, and audiocassettes.

These records primarily pertain to Janet Reno’s years of service as the State Attorney for Florida, her time as Attorney General of the United States, and when she ran for governor of Florida.

Sans titre

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