Showing 1500 results

The Alberto Muller Collection contains materials relating to the Bay of Pigs invasion and the Mariel Exodus collected by Cuban writer and journalist Alberto Muller.

Documentation in this collection contains materials related to the Mariel Boatlift, Alberto Muller and the return of Brigade 2506 in December 1962.

The collection contains negatives of Cuban photographs and prints reproduced by Thomas Labs in Coral Gables, Florida.

This collection contains documents, clippings, photographs and ephemera of the activities of Alberto Sarraín and his theater production group, La Má Teodora. The collection documents his financial, administrative, theatrical and personal activities. There is also a group of personal papers that make up a portion of the collection, including materials related to Sarraín's work with the Community Relations Service at Guantánamo Bay Naval Base and the Guantánamo Refugee Education and Training Program.

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."

The Aldemaro Romero Archive is comprised of the artistic and intellectual production of the Venezuelan composer from 1945 to his death in 2007. His collection is divided in two sections: concert and popular music. Aldemaro Romero's concert collection is made of one hundred original manuscripts and copies of scores with works for symphonic orchestra, chorus and orchestra, solo concerts for wind and string instruments with orchestra, and chamber music. The popular music collection contains 126 songs and 31 instrumental works (vol. 1 and vol. 20), manuscripts and copies of the lead sheets and/or lyrics and recordings.

Collection includes facsimiles of site plans, ephemera, and one ring binder of project related facsimiles of presentation drawings, sketches, and models for the proposed buildings.

The Alexis Rodriguez-Duarte in collaboration with Humberto "Tico" Torres photography collection contains exhibition material, photographs and published works created by Cuban-born photographer Alexis Rodriguez-Duarte (b. 1962) in collaboration with Tico Torres.

The collection includes biographical and professional information on Rodriguez-Duarte; press releases and invitations to exhibitions of the photographer's work; and copies of publications that have featured his photography. The collection also contains signed copies of Americanos: Latino Life in the United States (1999) and Presenting Celia Cruz (2004).

Tracings, construction drawings, site plans for the home of Richard Namon at 5501 SW 93rd Street, Miami FL
Correspondence from Alfred Browning Parker to Richard Namon

Alfred Reed was a composer and conductor who later became a professor and music director at the University of Miami. The Alfred Reed Papers contains condensed scores, full scores, conductor and scores of J. S. Bach's music, all by Alfred Reed. Also included is an autographed score by Brazilian composer Hector Villa-Lobos.

The collection contains documentation of medical conferences and courses on various subjects offered at the University of Havana School of Medicine.

The papers include 1 diploma for Alfredo Rodríguez Estévez from Escuela Profesional de Comercio, Habana; 1 diploma for Rodríguez Estévez from Universidad de la Habana; 1 photo album from Casino de Capri, Havana; documents (1961) certifying the conduct and character of Rodríguez Estévez while he was an employee at the National Bank of Havana.

The collection consists of official correspondence, programs, flyers, circulars, documents, lists of organization members and newspaper clippings documenting activities of “Alianza Nacional Feminista” in 1920s and 1930s.

The Alicia García collection documents Cuban history through primary source periodicals published in Cuba and in the diaspora. Titles include Bohemia, Bohemia Libre, Revolución y Cultura, and Verde Olivo.

The collection contains documents, photographs, printed PowerPoints and a USB with digital information related to architect Alicia Pujals Mederos.

Biography:
Alicia Romelia María Pujals y Mederos was born in La Habana, Cuba, on December 12, 1921. Her parents were Romelia Mederos y Cabañas and Francisco Pujals y Claret. She was the couple's third of four children: Francisco, Elena, Alicia, and José. Her older brother, Francisco, was an engineer (as was her father); her older sister, Elena, was also an architect; and her younger brother, José, was an agricultural engineer. Alicia enjoyed a charmed youth, surrounded by family and friends, many with whom she remained close throughout her life. She grew up in an environment grounded in strong family, moral, and ethical values, as well as a deep appreciation of nature and the Arts, particularly anything related to "extraordinary" architectural and engineering designs. While growing up in Cuba, she traveled widely with her family throughout Cuba and also visited a number of places in Europe, Latin America, Canada, and the U.S.A. This travel exposed her to different cultures as well as art and architecture throughout the ages and around the world.

Her formal education started at El Colegio Sepúlveda and continued at El Instituto de Segunda Enseñanza de La Habana. She then went on to study Architecture at La Universidad de La Habana, where she met her future husband, Raúl L. Mora y Suarez Galbán. They married on December 23, 1945 and had three children (Alicia Cristina, María Elena, and Raúl Francisco). Alicia graduated from the School of Engineering and Architecture at La Universidad de La Habana, earning the title of Architect on July 15, 1946. She initiated her work as a Professional Architect at Pujals y Cia., her family's firm, and her work received acclaim with immediacy. Her achievements as an architect included industry awards and recognition in multiple professional, educational, and popular publications, including Álbum de Cuba and Vanidades. Her work was featured in exhibits at El Lyceum, Colegio de Arquitectos, and Palacio de Bellas Artes in Cuba; the Architectural League of New York; and The Florida Association of Architects Convention (held in Palm Beach, FL in 1955).
Alicia's first home was at "Malecón 40." She lived there until her parents moved their family to a new home at "Quinta Avenida y 24, Miramar." Her final home in Cuba was at the house that she and her husband (Structural Engineer Raúl L. Mora y Suarez Galbán) designed and built at "Calle 24 #505 5ay 7a Ave., Miramar." This house was the "crowning joy" of their professional experience. Florencia Peñate Díaz writes that these works are “characterized by their rationalist codes, the use of reinforced concrete, glass, levels roofs with elements of environmental adequacy such as wide eaves and transparent shutters” (76). Unfortunately, they were only able to enjoy this home for a few years before the family deemed it necessary to leave Cuba. However, in future years they were able to collaborate in the design and construction of two other homes for themselves - the first in Dade City (Pasco County, FL) in 1980, and the second, an addition to the home they had designed for their daughter Maria Elena and her family in Dade City in 1970, which was completed in 2007.
In July 1960, Alicia and Raúl emigrated to the U.S.A. with their three children and two nephews. They also opened their home to Alicia’s brother and his wife’s children, Victor J., Gloria I., and Beatríz M. right through their college years, as José was a political prisoner in Cuba until 1988. Upon realizing that their stay in the United States would not be a short one, Alicia and Raúl followed the established procedures to change their immigration status from "Tourist" to "Resident," and eventually became Naturalized American Citizens. In addition, they applied for "Registration" as a "Professional Architect" and "Professional Engineer," so they could practice their professions in the United States. Raúl succeeded in this pursuit, but Alicia as well as her sister Elena (who had already become a renowned Architect in Cuba and abroad, as well as an esteemed Professor of Architecture at La Universidad de La Habana) were unfathomably denied their requests by the Florida State Board of Architecture. The rejection from the State Board of Architecture meant that both Alicia and Elena would have to submit to a series of oral and written exams before they could be considered for Registration status. This also meant that they would not be able to practice their beloved profession in Florida.
Since both Alicia and her sister Elena were actively engaged with other professionals in similar situations, they were cognizant of the fact that a number of male Cuban architects (some of them former students of her sister Elena, at La Universidad de La Habana) had

been granted the "Registration" they sought, without additional exam requirements. As a result, both Alicia and Elena were encouraged to appeal the State Board's ruling, but their appeals were denied. On the basis of previous work-based experiences, they interpreted this "final" ruling by the Board as a personal affront, perhaps influenced by the fact that they were women in a male-dominated industry and were thus unwelcome colleagues. Judging by feminist architectural scholarship such as that by Díaz, who has written about female architects in Cuba, focusing on the Pujals sisters specifically, the women were correct in their interpretations.1 As a result, they decided to take a stand in protest of what they believed to be a discriminatory and unjust decision by refusing to take the exams. They realized and accepted the fact that taking such a stand, would limit their opportunities to practice architecture.

In spite of this major setback, however, their determination and love or architecture kept them active in the field. Elena turned to the field of Education, and Alicia found satisfying architectural work with Miller Florida Homes, Inc. - prominent developer in the State of Florida - and would maintain this working relationship for nearly 50 years. Alicia’s innovative designs gave the Millers an edge in the highly competitive South Florida residential construction market and caused their sales to increase beyond expectations. Over the years, Alicia's influence with Miller Homes, Inc., in Florida expanded to developments in Broward County (Lakeview Estates in Plantation), Palm Beach County, and Hillsborough County (Ruskin). Near the end of her career (at age 70), she received the First-Place award for the design of Model 1003 Trendsetter for Miller's Florida Homes, Inc.at the Ruskin, FL, Parade of Homes. This late award came after numerous others during the course of her career; most notably she won First-Place in a low budget model house competition for the Corporación Nacional de Asistencia Pública, which was built in 1948 in Cuba when she was 27 years old.

On August 11, 2008, surrounded by her husband, children, grandchildren, and extended family, Alicia passed away peacefully.

Notes

1. Díaz writes that during the modernization of Cuban architecture, whereby new designs began to distinguish themselves from the colonial, female architects were as much part of the movement as men. Despite the fact that in 1906 the first woman matriculated in architecture on island, the University of Havana did not start admitting female students in architecture until 1922/23. By 1952, however, there were substantially more female matriculates which was a reflection of wider breakthroughs in women’s rights, such as divorce rights, the right to work, and the right to vote. Regardless of how much women were actually involved in the architectural modernization of Cuba, magazines and publications at the time framed women’s contributions as ancillary to that of men, which is a trend that has largely continued in the historical narrative of Cuban architectural development. Therefore, Diaz believes that the importance of her research lies in identifying modern architectural works designed by women and, with this in mind, legitimizing under-recognized labor, barely reflected in studies regarding architecture. See: Florencia Peñate Díaz, “La obra de las arquitectas cubanas de la República entre los años 40 y fines de los 50 del siglo XX / The work of female Cuban architects of the Republic between the 1940s and the late 50s of the 20th century.” Arquitectura y Urbanismo, vol. 33, no. 1, 2012, pp. 70-82.

Works Cited

Díaz, Florencia Peñate. “Significado de la obra de las arquitectas cubanas Elena y Alicia Pujals Mederos / The significance of the work of Cuban architects Elena and Alicia Pujals Mederos.” Arquitectura y Urbanismo, vol. 37, no. 1, 2016, pp. 26-36.

This collection contains a selection of historic preservation reports prepared by Architect, Allan T. Shulman.  The majority of the surveys are of Miami Beach architecture from the 20s, 30s, 40s, 50s and 60s and one report for Hialeah Park and its immediate environs. This collection holds the distinction of providing a documentation of recommendations for the preservation, restoration and conservation of the sub-tropical building environment with an emphasis on the architecture of the resort/hospitality industry in Miami Beach.

Allison B. Curry, Jr. served as Director of Public Service for Coral Gables from 1934 to 1939. Between 1939 to 1942 he was promoted to city manager. In 1942 he left to hold this same post for the city of Miami. From 1946 to the end of his career he was Director of the Dade County Port Authority as well as of the Miami International Airport.

The Allison B. Curry collection contains diplomas, photographs, a brochure on the metric system, two metric rulers (one in a leather sleeve with his name in ink), metric converters, a lighter with his initials engraved and a case, and a cartoon of Curry signed by city employees.

The Alma Flor Ada papers contain correspondence, photographs, negatives, manuscripts, typescripts, as well as some of Ada's teaching materials.

The collection contains 35mm footage and audio reels of the film "Nobody Listened/Nadie Escuchaba," an award-winning documentary about human rights violations in Cuba. It also contains transcripts of interviews with Cuban political prisoners.

This collection consists of the papers of Althea “Gerry” Lister from 1935 to 1997. It contains: biographical information pertaining to Lister’s 45 year career at Pan American World Airways; “Along Air Avenues,” an unpublished manuscript that provides a detailed account of Pan Am’s maintenance and safety operations; a list of survey and inaugural flights created by Lister; a list of McCoy print purchasers and prices created by Lister; and a chronology of Pan Am’s aircraft fleet created by Lister. The papers include certificates, correspondence, photographs, and press clippings.