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Andrea Callard Papers

Call Number



1966-2000, inclusive


Callard, Andrea


20 Linear Feet
(17 boxes)

Language of Materials

Materials are in English.


The Andrea Callard Papers include materials relating to the downtown New York art scene in the late 1970s and 1980s. The collection contains a particularly rich series on Collaborative Projects, Inc. (Colab), a non-profit arts group which Andrea Callard helped create. Additionally, the collection includes research, drawing, painting, and photography related to Andrea Callard's professional art career. Finally, the collection contains a great deal of information on art education residencies throughout New York.

Biographical Note

Andrea Callard was born in Chicago in 1950 and grew up in Muncie, Indiana. She graduated from highschool at Hingswood School Cranbrook in 1968 and continued her education (1968-1970)at Washington University's School of Fine Arts in St. Louis and graduated from San Francisco Art Institute with a BFA in painting in 1972. In San Francisco, Callard found a rich artistic community including Jim Vincent, Bonnie O'Neill, Baylor Trapnell, Mac Becket, Carol Williams, Reese Williams, and Robin Winters.

In 1973 Andrea Callard moved to New York City and into an apartment at 150 Chambers St. Again, Callard found a community of artists including Daisy Youngblood, Joe Haske, Robert Israel and Cara Perlman who lived in the same building and Bernice Rubin who lived in the neighborhood. In 1976 Callard moved to the top floor of 40 Lispenard St. She, Cara Perlman, and Bernice Rubin acquired a net lease for the upper three floors and renovated the building.

Andrea Callard's involvement in creating the artist group Collaborative Projects Inc. was one of Callard's strongest contributions to the New York art community. The organization mimiced corporate structure in an attempt to garner large grants that the organization then redistributed among its members or used for collaborative projects such as television programs. In addition, Colab created art opportunities by organizing a wealth of art shows in the late 1970s and early 1980s. Finally, Colab actively sought to collaborate with other fringe art groups, most notably Fashion Moda in the South Bronx, resulting in what Lucy Lippard calls unprecedented and "fragile cross-class, cross cultural alliances". Colab embodied a rough and highly political art scene that deviated from contemporary art spaces and production practices. Andrea Callard served as Secretary to the group from 1978-1980.

Andrea Callard's professional career also took off during this time period. In addition to numerous contributions to Colab shows, Andrea Callard created a great deal of individual artworks including photography, drawings, and watercolors. Her artwork centered on issues of environmentalism, which is particularly evident in her Ailanthus series. Additionally, her work attended to issues of cultural change evident in her contribution to the 1979 Custom and Culture II show at the NYC Customs House. In 1977 the National Endowment for the Arts, (NEA) awarded her an Individual Artist's Fellowship for Drawing. She also participated in several art residencies beginning in 1978 at the Cummington Community for the Arts in Cummington, Massachusetts. Finally, Andrea Callard became very involved in the LINE organization, a group focused on re-granting monies for artists' books.

In the 1980s Callard gradually separated from Colab but continued to look for opportunities to collaborate with other artists. This desire manifests in her 1980 Site, Cite, Sight show with Bonnie O'Neill in San Francisco, her collaboration with Kathy High on a street poster for Colab, her contributions to Steve Ning's film "Freckled Rice" and her work with Sam Sue on "The Tenement: Place for Survival, Object of Reform" in 1988. These projects are notable but represent only a portion of Callard's collaborations throughout the 1980s. Additionally, Callard participated in several art education residencies including one in Malone, New York, at the Hecksher Museum, at the Huntington Public Library, at Carthage Central Schools in Black River New York, at Studio in the Schools, at Rockland Center for the Arts and at the Baldwinsville Schools.

The 1990 and early 2000s continued to be productive years for Andrea Callard. She contributed to a number of group shows and held some solo shows including an exhibition at the Storefront for Art and Architecture entitled "The Waste Stream:" and a display of master printer's portfolios titled "Multiple Connections" at the Bronx River Art Center. She also participated in several residencies and visiting artist positions including one at the American Academy in Rome, Italy. Finally, she took on leadership roles as Art Coordinator for the National Council of Jewish Women, Director of Arts and Crafts at Brnat Lake Camp, and Project Arts Coordinator at the New York City Board of Education.

Andrea Callard continues to live and work in New York City.


The original order of the collection has been preserved as much as possible. The Andrea Callard Papers are arranged chronologically by time period and physical location. These chronological periods are connected to locations where Callard resided. For example, the period between 1973-1976 appears as a unit because it represents Callard's residence at 150 Chambers St. in New York City.

Missing Title

  1. Series I: Collaborative Projects, Inc. (Colab)
  2. Series II: Andrea Callard Artist Files
  3. Series III: Administrative
  4. Series IV: Other Artist Files
  5. Series V: Correspondence
  6. Series VI: Biographical
  7. Series VII: Printed Materials
  8. Series VIII: Artifacts
  9. Series IX: Video recordings
  10. Series X: Sound recordings
  11. Series XI: Film
  12. Oversize
  13. Mapcase

Scope and Content Note

The Andrea Callard Papers contain materials relating to Callard's career as an artist and art educator as well as her involvement in the artist organizations, most notably Colab. Material types include art works, such as drawings and paintings; media, such as audiocassettes, super 8mm film, and vinyl records; publicity materials, including posters and event post-cards; as well as journals, correspondence and financial administrative files. The bulk of the materials fall within the years 1973-1990 however dates range from 1968-2000.

Series I: Colab contains materials relating to Collaborative Projects, Inc (Colab). The group initially took the name the Green Corporation but soon changed to Collaborative Projects, Inc. The organization emerged out of a dual desire to use group activity as a means of creating energized art works and a dynamic art community. Secondly, the organization attempted to mimic the structure of a corporation in an attempt to gain credibility and obtain state and federal funding for redistribution among members. Members of the organization included Coleen Fitzgibbon, Charlie Ahearn, John Ahearn, Robin Winters, Tom Otterness, Fred Krughoff, Alan Moore, Ulli Rimius, and Jane Dickson among many others. Andrea Callard served as Secretary of the organization from 1978-1980.

Subseries A: Administrative materials includes Andrea Callard's secretarial notebook, materials relating to the group's conception, organization and functioning, meeting notes and announcements as well as financial information. Colab's grant application materials for the National Endowment for the Arts (NEA) and New York State Councilon the Arts (NYSCA) appear in this subseries. Materials are organized with Callard's secretarial notebook first followed by all other administrative materials in chronological order. Undated materials appear at the end of the subseries.Subseries B: Colab Shows and Events contains photographs, publicity materials, and slides relating to Colab shows. This series includes materials relating to the following Colab exhibitions:The Manifesto ShowThe Batman Show The Income and Wealth Show The Murder, Suicide and Junk ShowThe Doctors and Dentists Show The Dog Show The Real Estate ShowThe Times Square ShowAnimals Living in Cities ShowThe Mural America ShowThe Williamsburg Bridge Sculpture ShowColab Hits the Ritz show

Additionally, the subseries in Series I contain documentation of other projects including Colab's television programs such as Potato Wolf, as well as A. More Store, Colab's 1982 summer institute, the Talk Is Cheap street poster projectand the photo postcard project. Notable artists include Kiki Smith, Jenny Holzer, Jane Dickson, Tom Otterness, Charlie Ahearn, John Ahearn, Robin Winters, Coleen Fitzgibbon, SAMO, and Keith Haring as well as Andrea Callard. Additionally, this series includes materials relating to Colab's use of QWIP technology for collaborative art projects. The QWIP was an early type of closed-network fax machine that utilized carbon paper. Exxon developed QWIP technology and Liza Bear procured the machines for Colab's use. The subseries contains original QWIPs created by the group.

Series II: Andrea Callard Artist Files contain materials related to Callard's art career. The material covers the time period 1950-2000, and is organized into seven subseries. Time and place figure prominently in the organization of this series because Callard grouped her files chronogically and according to where she was living at different periods of her life.

Subseries A: 1950-1973 includes materials dated before 1973 such as items relating to her undergraduate work at the San Francisco Art Institute.Subseries B: 1973-1976, 150 Chambers St. reflect Callard's early years in New York City at 150 Chambers St. Artists Daisy Youngblood, Joe Haske, Robert Israel and Cara Perlman also lived in this building. Projects associated with this time period include the Queen of Siberia 10 cent cookbook, Red Anger Association, "A Dressing Wall" works, and a large quantity of black and white photography. Materials with specific years appear at the beginning of this subseries in chronological order. Materials designated "150 Chambers St" or "1973-1976" but without a specific date are grouped at the end of the subseries.Subseries C: 1976-1978, 40 Lispenard St. includes art works from Callard's first three years in her loft on the top floor of 40 Lispenard Street. Callard, Cara Perlman and Bernice Rubin secured a net lease for the upper three floors of this building in 1976 and renovated the building. The series contains work related to Callard's "City Canoe Trip", Transportation Incidents postcard multiples, Continental Drift, the film "Standard Adult Wheelchair". This subseries also includes work related to Callard's 1978 residency at the Cummington, Massachusetts Community for the Arts, the Ailanthus project, as well as her contributions to Colab's Dog Show and the Batman show.Subseries D: 1979-1981, 40 Lispenard St. includes materials relating to Callard's art career such as her contributions to the Custom and Culture II show, Colab's Animals Living in the City and the Times Square Show as well as Callard's work with Bonnie O'Neill at Site, Cite, Sight in San Francisco. This series also includes work from Callard's ongoing Ailanthus project.Subseries E: 1982-1986, 40 Lispenard St. again contains art files related to Andrea Callard's professional career including her contribution in the NYC Wildlife Museum, Inside/Out garden signs at the Bronx River Art Center as well as Colab's Talk is Cheap street posters and photo postcard project. Additionally, the series contains materials relating to her film "Pus Factory" and her work on "Freckled Rice" by Steve Ning, and "Everglades City" by Matthew Geller.Subseries F: 1987-1989, 40 Lispenard St. this subseries includes materials relating to Callard's art career particularly her collaboration with Sam Sue on the installation "The Tenement: Place of Survival, Object of Reform." This work appeared at the Chinatown History Project in 1988 and as part of the DIA Art Foundation "If you lived here" exhibition in 1989.Subseries G: 1990-2000, 40 Lispenard St. contains materials relating to Callard's art career. Most notably, the series includes work relating to her "Home Turf" window at Art in General and her exhibition at the Storefront for Art and Architecture. The subseries also includes black and white contact sheets and negatives as well as materials relating to collaborative works during this timeperiod.Subseries H: Art Education contains materials relating to Callard's work as an art teacher such as student letters, photographs and press clippings from artist in residency programs in as well as teaching opportunities in New York City.Subseries I: Miscellaneous includes undated materials. Contact sheets and negatives taken by Andrea Callard compose the majority of this subseries, however the subseries also contains journals, planning notes, drawings and small projects.

Series III: Administrative Materials contains items related to the business and day to day functioning of Andrea Callard's professional art career. The series is divided into seven subseries. Subseries are arranged chronologically where possible, alphabetically in other instances.

Subseries A: Grants includes grant proposals, calls for proposals, resumes and other materials relating to obtaining professional appointments and work.Subseries B: Artwork Loans includes paperwork regarding artworks loaned by Andrea Callard.Subseries C: Finances includes financial information such as receipts and taxes.Subseries D: Organizational Participation contains information regarding Andrea Callard's participation in organizations, for example her work with LINE.Subseries E: Interns contains employment information for student interns who worked with Andrea Callard.Subseries F: Notes and Research Copies includes paperwork relating to Andrea Callard's day to day work as an artist such as notes, lists and research copies.Subseries G: Artist Photographs includes professional portraits of Andrea Callard such as contact sheets of Peter Bellamy's portrait of Andrea Callard used in his book The Artist Project.

Series IV: Other Artist Files includes individual and group artist files arranged alphabetically. The series is divided into three subseries:

Subseries A: Individual artist files includes artist files relating to particular individual's art careers. Files contain a range of materials including publicity information or works of art. Files are arranged alphabetically by last name.Subseries B: Collaborative and Group Shows includes materials related to group projects. Again, the contents of these files range from works of art to publicity information regarding exhibitions. Materials are arranged chronologically.Subseries C: Miscellaneous and Unknown Artists unlabeled art materials.

Series V: Correspondence includes Andrea Callard's personal and administrative correspondence organized alphabetically by sender. The series is divided into four subseries.

Subseries A: Last Name, First Name contains correspondence from senders with known first and last names arranged alphabetically by last name.Subseries B: First Name includes correspondence from senders with known first names or first initials organized alphbetically.Subseries C: From Andrea Callard contains correspondence from Andrea Callard organized alphabetically by addressee.Subseries D: Miscellaneous and Illegible includes unlabeled or illegible correspondence.

Series VI: Biographical contains materials related to Andrea Callard's childhood, personal photographs and snapshots as well as personal reflective writing such as dream journals. Materials are arranged in chronological order with undated materials at the end of the series.

Series VII: Printed Material includes printed items such as books, pamphlets or maps arranaged in alphabetical order by author's last name.

Series VIII: Artifacts includes objects such as Andrea Callard's red pill-box hat, Super-8mm film supplies and the black and white mirror letter "A"s among other artifacts.

Series IX: Video Recordings includes video documentation of events and media elements which were used in artworks and media productions. Materials are divided into subseries for researcher access copies and original archival materials. There may not be access copies for all material. Please check with a Fales Archivist.

Series X: Audio Recordings includes audio documentation of events and media elements which were used in artworks and media productions. Materials are divided into subseries for researcher access copies and original archival materials. There may not be access copies for all material. Please check with a Fales Archivist.

Series XI: Film includes original film productions, film elements and film documentation of events. Materials are divided into subseries for researcher access copies and original archival materials. There may not be access copies for all material. Please check with a Fales Archivist.

Access Restrictions

Materials are open to researchers. Please contact the Fales Library and Special Collections,, 212-998-2596.

Use Restrictions

Copyright (or related rights to publicity and privacy) for materials in this collection was not transferred to New York University. Permission to use materials must be secured from the copyright holder. Please contact the Fales Library and Special Collections,, 212-998-2596.

Preferred Citation

Published citations should take the following form:

Identification of item, date (if known); Andrea Callard Papers; MSS 156; box number; folder number; Fales Library and Special Collections, New York University.


The Fales Library purchased this collection from Andrea Callard in 2004.

Audiovisual Access Policies and Procedures

Access to some audiovisual materials in this collection is available through digitized access copies. Researchers may view an item's original container, but the media themselves are not available for playback because of preservation concerns. Materials that have already been digitized are noted in the collection's finding aid and can be requested in our reading room. To request an access copy, or if you are unsure if an item has been digitized, please contact with the collection name, collection number, and a description of the item(s) requested. A staff member will respond to you with further information.

Separated Material

These materials have been catalogued into the Downtown and Special Collections book holdings.

Andre, Carl. 144 Blocks and Stones.Portland: Center for the visual arts, 1973.

Anti-Illusion: Procedures/Materials.New York: Whitney Museum of American Art, 1969.

Applebroog, Ida. A Performance. Blue Books, 1981.

Applebroog, Ida. I CAN'T, a performance. Blue Books, 1981.

Applebroog, Ida. I MEAN IT, a performance. Blue Books, 1981.

Applebroog, Ida. IT'S VERY SIMPLE, a performance.Blue Books, 1981.

Applebroog, Ida. STOP CRYING, a performance.Blue Books, 1981.

Apt Art: Moscow Vanguard in the '80s.New York: New Museum, 1986

Avalanche.(December 1974).

Avery, Milton. Milton Avery: Mexico.New York: Grace Borgenicht Gallery, 1983.

Baldessari, John. Brutus Killed Caesar.Akron: Emily H. Davis Art Gallery, n.d.

Baranik, Steven. Burning Horses.New York: The Ram Press, 1982.

Bellamy, Peter. The Artist Project: Portraits of the Real Art World/New York Artists 1981-1990.New York: IN Publishing, 1991. [includes A. Callard]

Berlin-New York.New York: Collaborative Projects, 1987. [Colab project]

Blane, Marc. Grounds/Greens, Graves, Ruins, Mines.1980.

Bochner, Mel. Mel Bochner: 1973-1985.Pittsburgh: Carnegie-Mellon University Press, 1985.

Breder, Hans and Barbara Welch. Portrait of Rosa.Chicago Books, 1983.

Brown, Gary. Distance Fool.1975

Brown, Gary. Only Words.n.d.

Brown, Gary. Pieces of the Part.1975.

Brown, Gary. Pieces of the Part, poems and songs from 1972-1974.n.d.

Brown, Gary. Talking Spanish Trash.1977

Brown, Gary. White Fright.1978

Burford, Byron. And the Lord knows what.Chicago Books, 1988.

Caldwell, Catherine. Habits and Facts.Creative Arts Printing, 1980.Caldwell, Catherine. Line O' Pine.Emeryville, CA: King Display, 1980.

Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. LTD, Robert Smithson, Lawrence Weiner.New York: Seth Siegelaub, 1969.

Celmins, Vija. Drawings.New York: Whitney Museum of American Art, 1973.

Chast, Roz. Three Small Books.New York: Chicago Books, 1982.

Collins, James. James Collins.London: ICA, 1978.

Conde, Carole and Karl Beveridge. …It's Still Privileged Art.Toronto: The Art Gallery of Ontario, 1976.

Conde, Carole and Karl Beveridge. Maybe Wendy's Right.Toronto.

Corber, Mitch. Knit Wit.1977

Deleuze, Gilles and Felix Guattari. On the Line.trans. John Johnston. New York: Semiotext(e), 1983.

Dimensions Variable.New York: The New Museum, 1979.

Douglas, Helen and Telfer Stokes. Chinese Whispers.London: Weproductions, n.d.

Four and Seven: 26 Artists/26 Days.San Francisco: Art Institute, 1977.

From Receiver to Remote Control: The TV Set.Organized by Matthew Geller. New York: The New Museum of Contemporary Art, 1990.

Geller, Matthew. Difficulty Swallowing: a Medical Chronicle.New York: Works Press, 1981.

Geller, Matthew. 1981 Engagements.New York, 1980.

Geller, Matthew. 1983 Engagements, "Post" headlines.New York, Works Press, 1982.

Geller, Matthew. Hidden Away in a Musty Chamber.New York: Wedge Press, Inc., 1983.

Gianakos, Cristos. 16 Views.New York: Cristos Gianakos, 1976.

Graves, Nancy. Sculpture/Drawings Films 1969-1971.

Heinecken, Robert. He:/She:.Chicago: Chicago Book, 1980.

Henes, Donna. Dressing Our Wounds in Warm Clothes: Ward's Island Energy Trance Mission.Los Angeles: Astro Artz, 1982.

Hesse, Eva. Eva Hesse: A Memorial Exhibition.New York: Guggenheim Museum, 1972.

If You Lived Here: The city in art, theory and social activism.Ed. Brian Wallis. Seattle, Bay Press, 1991. [Chinatown history project, A. Callard and Sam Sue.]

In Honor of Theresa Hak Kyung Cha.Undated.

Issue: a journal for artists.No. 1 (n.d.)

Johnson, Ray. "Postcard Action." New York, 1983 [?]

Jonas, Joan. View.Oakland, Crown Point Press, 1979.

Kelpra Studio: Artists' Prints 1961-1980.London: Tate Gallery, 1980.

Lanyon, Ellen. Transformations II (endangered).New York: Chicago Books, 1982.

Levine, Les. Media: The Bio-tech rehearsal for leaving the Body.Alberta, Canada: Alberta College of Art Gallery, 1979

LeWitt, Sol. Books, 1966-1990.1990

LeWitt, Sol. Complex Forms.1990

LeWitt, Sol. Geometric Figures and Color.New York: Harry N. Abrams, Inc., 1979.

LeWitt, Sol. Lines and Color.1975.

Linn, Nancy. Madonna + Child.New York: A. Whilte Publishing Company, 1984.

Lipton, Lenny. The Super 8 Book.San Francisco: Straight Arrow books, 1975.

Logemann, Jane. Abstracts Book III.1979

Martin, Agnes. Agnes Martin. Kunstraum: Munchen, 1973.

Martin, Agnes. Agnes Martin: 1976 Reprinting of the 1973 exhibition catalogue.Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1976.

The Mental Picture.New York: AIGA, 1972.

Moore, Claire. Half and half.Nd.

Moore, Claire. Napoleon is a brother, Napoleon is a sister.Chicago Books, 1982.

Moved.New York, n.d.

Nadin, Peter. Still Life.New York: Tanam Press, 1983.

The New Sculpture 1965-75: Between Geometry and Gesture.Ed. Richard Armstrong and Richard Marshall. New York: Whitney Museum of American Art, 1990. [page 164-165 marked with paper "Andrea from Genie Ross"]

New York City Cultural Council. New York City Resources for the Arts and Artists.New York: Cultural Council Foundation, 1973.

Oldenburg, Claes. Notes in Hand.New York: E.P. Dutton and Co. 1971.

On Site.No. 4 (n.d.) New York.

Ono, Yoko. Grapefruit.New York: Simon and Schuster, 1971.

Otterness, Tom. Tom Otterness.Appearances Press, 1981.

Parker, Kingsley. Starting with Flags: Forty-three Drawings.New York, 1976.

Peters, Robert. Gold and Silver Do No Spoil.Chicago Books, 1988.

Polidori, Robert. D/isolation, Work in Progress, Genetic Codes.New York: Anthology Film Archives, 1975.

Profile.3:5 (September 1983).

Public Art Fund, Inc. Ten Years of Public Art 1972-1982.New York: Public Art Fund, 1982.

Rinehart, Benjamin D. Fairy-Mones.Brooklyn: Benjamin Rinehart, 2002.

Romeu, Joost A. Art After Philosophy.1973

Romeu, Joost A. On the Essence of Truth.1973

Rubini, Gail. Forever Yours.New York: Chicago Books, 1980.

Rubini, Gail and Conrad Gleber. The Future of the Book of the Future: Thoughts and images on the form of the book of the future presented in a series of "work in progress" exhibitions and publications until the year 2000.1994.

Rubini, Gail. Sweet Junk.Chicago: Chicago Books, 1977.

Ruiz, Raul. Works for and about French TV.New York: Exit Art, 1987.

Ruscha, Edward. Various Small Fires and Milk.Los Angeles: Anderson, Ritchie and Simon, 1970.

Serra, Richard. Richard Serra: Interviews, Etc 1970-1980.New York: The Hudson River Museum, 1980

Sherry, Jane M. Sun Worship.1980.

Sherry, Jane M. Above us…1979

Simonds, Charles. Three Peoples.New York: Samanedizioni, 1975.

Site, Cite, Sight.New York: Site, Cite, Sight, Inc. 1982.

Smith, Michael. The Big Relay Race.Chicago Books, 1981.

Smithson, Robert. Robert Smithson: Drawings.New York: The New York Cultural Center, 1974.

Smithson, Robert. The Writings of Robert Smithson: Essays with Illustrations.Ed. Nancy Holt. New York: New York University Press, 1979.

Snow, Michael. Cover to Cover.New York: New York University Press, 1975

Stevens, May. Ordinary, Extraordinary. A Summation 1977-1984.Boston: Boston University Art Gallery, 1984.

Stevens, May. Ordinary, Extraordinary.n.d.

Tellus: the audiocassette magazine. n.1, 1983.

Transmission: Theory and Practice for a new Television Aesthetics.Ed. Peter D'Agostino. New York: Tanam Press, 1985.

University of Alaska Anchorage. The Future of the book of the Future Alaska.1994.

Unwinding the Vietnam War from War into Peace.Ed. Reese Williams. Seattle: The Real Comet Press, 1987.

Vicuña, Cecilia. Precario/Precarious.New York: Tanam Press, 1983.

Wedge. The Imperialism of Representation, the Representation of Imperialism.No. 7/8 (Winter/Spring 1985)

Weinhardt, Seth. 51 Black and White Photographs, 51 Color Drawings.New York: Chicago Books, 1985.

WhiteWalls: A Magazine of Writings by Artists.No. 5 (Winter 1981).

Williams, Reese. Clocks.1974.

Williams, Reese. Figure-Eight, a fable.New York, Tanam Press, 1981.

Williams, Reese. A Pair of Eyes.New York: Tanam Press, 1983.

Williams, Reese. Past Trial Nearer.New York, 1978.

Winters, Robin. Consultation.n.d.

Winters, Robin. 82.1985.

Zybert, Richard. Notebook on Time.San Francisco: Marginal Press, 1981.

Related Material at Fales Library and Special Collections

Fashion Moda Archive (MSS.091)

Collection processed by

Jessica Shimmin, 2005-2006; media processed by Brent Phillips, 2006; media description input by Joseph Gallucci, 2006, Luke Martin, 2008, Brent Phillips, 2008, 2010.

About this Guide

This finding aid was produced using ArchivesSpace on 2024-02-06 14:14:45 -0500.
Language: Description is written in: English, Latin script.

Revisions to this Guide

April 2023: Updated by Maddie DeLaere to state that materials have been digitized and are accessible to patrons


Fales Library and Special Collections
Fales Library and Special Collections
Elmer Holmes Bobst Library
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