Naúl Ojeda papers, circa 1960-2004, circa 2013

Biographical material includes a certificate of appreciation, various educational and work-related certifications, letters of reference, and resumes. Also found is documentation related to immigration and travel for Ojeda and his daughter Ana Gabriela Ojeda, including a notebook Ojeda used when studying for the United States citizenship exam.

This series has been digitized in entirety, with the exception of some immigration records relating to Ojeda's daughter Ana Gabriela.

Ojeda's correspondence is both personal, with family and friends, and professional, with colleagues, galleries, museums, and other art and civic organizations, although the majority of Ojeda's correspondence related to galleries and exhibitions can be found in Series 3. Correspondence is primarily incoming, although some outgoing letters can be found primarily in the general correspondence files, in a folder of photocopies of outgoing letters to friends, and in other files described below.

Letters from Ojeda to his wife Philomena were written during Ojeda's 1984 trip to Uruguay for the election there. There are four folders of letters from Ojeda's ex-wife and daughter Ana Gabriela, sent during their exile in the Netherlands, and a folder of printed email messages between Ojeda and his daughter Maria Antonia de Leguiza, who connected with Ojeda in 2001. Ojeda had previously been unaware of his daughter's existence – the result of a brief relationship he had in Argentina after covering events in Chile – and the two formed a strong bond based on shared political experiences and beliefs.

Letters to friends and colleagues include three folders of letters from Azucena Berrutti, who later became Uruguay's National Defense Minister, and other family members including Berrutti's husband, activist Walter Jesus Gonzalez, and individuals named David and Coco, whose letters were often received together. Other correspondents of note include journalist and writer Armando Caicedo Garzón, Uruguayan journalist Eduardo Galeano, Uruguayan art historian Alicia Haber, Chilean artist José Palomo who went into exile in Mexico after Pinochet's rise to power, and Uruguayan painter Ernesto Vila. Vila's files include an exhibition catalog with an inscription by Vila, and a letter from Philomena Ojeda that provides context for the material.

General correspondence includes responses to inquiries made by Ojeda and requests from various organizations and individuals for permission to use Ojeda's work in publications; invitations; thank you letters; and other documentation from civic and political organizations to which Ojeda lent his time and support.

Correspondence is arranged alphabetically either by name or type, such as "Friends" or "General."

This series has been digitized in entirety.

Records in this series document Ojeda's professional relationships with museums, galleries, and civic and international organizations, as well as specific solo exhibitions and group exhibitions in which Ojeda participated.

Records include correspondence with individuals and organizations relating to arrangements for exhibiting, selling, or taking Ojeda's work on commission, as well as records of sales and exhibition-specific material such as price lists, contracts and legal records, printed matter, and scattered photographs.

Ojeda's relationship with Franz Bader, whose Franz Bader Gallery represented the artist for almost twenty years, is documented through files including detailed balance sheets, inventories, price lists, and receipts documenting sales and consignments of Ojeda's work, as well as records of four exhibitions and correspondence and memoranda documenting Ojeda's relationship with the gallery through location and management changes spanning over a decade. Also found is a video recording of an interview broadcast on television, probably related to the 1995 Inter-American Development Bank exhibition In Honor of Franz Bader.

Other galleries, museums, and organizations represented include several in Washington D. C., including The Phillips Collection; the Smithsonian's National Museum of American Art, which purchased prints by Ojeda for it's permanent collection; the Smithsonian's Resident Associate Program Tour, in which Ojeda participated; and the Gala Hispanic Theater, for whom Ojeda designed sets and produced posters for many years. The Gala Hispanic Theater records include documentation of Ojeda's protest over a GSA sponsored exhibition. Ojeda protested when eight panels with photos and texts describing present day Chile, Argentina, and Uruguay were pulled from the show, by removing his fourteen woodblock prints from the exhibition.

Also represented are international galleries and organizations, including embassies, and other cultural and municipal organizations in Colombia, Greece, Nicaragua, Puerto Rico, and Uruguay; U Galeria de Arte in Montevido, where Ojeda had exhibitions in the 1960s; Galerie les Lumières in Paris where Cristina Pareja organized exhibitions for Ojeda in the 1990s; and the International Monetary Fund Art Society.

Records are arranged alphabetically by name of individual, business, organization, or name of exhibition.

This series has been digitized in entirety with the exception of the video recording.

This series documents Ojeda's other professional activities, such as awards he received, grants he sought, requests and permissions for use of his artwork, competitions he entered, printing and framing services he used, conferences and other events he attended or was otherwise involved in, and records relating to political interests and causes, such as the Grupo de Convergencia Democratica en Uruguay. The series provides additional context for his career as an artist and also reveals more about his political interests and his involvement with the Latino American community.

Four legal files document attempts to avoid litigation after the publishing house Editoria Siglo XXI reproduced engravings by Ojeda without his permission.

The series includes records of Ojeda's grants from the D.C. Commission of the Arts and Humanities that funded his illustrations for poems by Pablo Neruda, and Garcia Lorca's poem "Ode to Walt Whitman," as well as projects experimenting with creating installations with mixed media and found objects. Ojeda's "Party Animals," submission was for designs for the donkey and elephant icons of the two United States political parties.

The files are arranged alphabetically by name of organization or subject.

This series has been digitized in entirety, with the exception of some routine travel brochures and some personal checks with personally identifiable information.

Series includes invoices and receipts for art supplies and for sales of Ojeda's artwork to various people and organizations; consignment and price lists for various exhibitions; and sales books of itemized receipts. Additional financial material may also be found in Series 3 and Series 4, including financial records for Ojeda's work at Franz Bader Gallery (Series 3).

This series has been digitized in entirety.

Printed and broadcast materials consist of booklets, clippings, exhibition announcements and catalogs, flyers, magazines and newspapers, posters, and press releases that document Ojeda's career, including many examples of Ojeda's published artwork.

Announcements and catalogs are primarily related to exhibitions and events in which Ojeda participated, and include invitations, announcements in newsletters and bulletins, and exhibition catalogs. Three broadcast items are video recordings about Ojeda including "Ayer y Hoy," "Lo Nuestro," and "The Woodcuts of Naùl Ojeda" by Cintia Cabib.

Clippings from newspapers, magazines, and journals, document Ojeda's career from the early 1960s to his death in 2002. Also found here is a substantial collection of printed material that contains illustrations by Ojeda, including artwork he executed for the Washington Post Book World, the Washington Review, the Institute for Policy Studies, and many other organizations and publications. A small amount of other printed material contains articles of interest to Ojeda, including articles on the political situation in various South American countries.

Posters are for Ojeda exhibitions and for other events for which Ojeda provided illustrations and designs.

This bulk of this series has been digitized. Material not digitized includes duplicates and the full text of some publications, for which only relevant pages have been digitized. Video recordings have not been digitized.

Two scrapbooks contain primarily clippings and printed material, with scattered correspondence, related to Ojeda's career and publicity for solo and group exhibitions. Some of the material may duplicate that found in Series 6.

This series has been digitized in entirety.

Artwork consists of drawings, sketches, prints including woodcut proofs, and poster mockups. Drawings include transparencies that were used to transfer images to woodblocks for prints and a set of color drawings created by Ojeda while in Santiago, Chile. Many of the loose sketches contain preliminary sketches in pencil, ink, and color media for various projects, including poster projects.

Posters include prints, mock-ups, and photocopies of posters for "Posters 70," "Uruguay Hoy," and Ojeda's tribute exhibition to entertainer Carlos Gardel, "El Mito."

This series has been digitized in entirety.

Sixteen sketchbooks contain preliminary sketches in pencil, ink, and color media for various projects including Ojeda's "Ode to Walt Whitman" poetry illustration project, and a few poster projects.

This series has been digitized in entirety.

Photographic material includes two pages that appear to be from a scrapbook, with three photos and a clipping from an exhibition in Uruguay. There are photocopies of photos of a family group, including Ojeda, that are also found with sketches in Series 8: Artwork, and an oversized photographic print, presumably used for display, of Ojeda with Franz Bader.

Negative strips are largely unidentifed and many appear to be of family, friends, and unidentified musical events. However, of note are negatives of the Uruguayan home and studio of Ernesto Vila in the Las Bovedas neighborhood. Pictured are individuals including Uruguayan artist Mario Mosteiro, bookseller Walter Jesus (Coco) Chiesa, and Vila. Also found are negatives of installations and works of art including "Carrito y mural Chuchilla Alta" (1995), and an installation from 1992.

This series has been digitized in entirety.