Found 6,088 Learning Lab Collections
This project is to gain knowledge and comprehension on the artifacts in this time-span. Further, these are not just ordinary artifacts because they truly portray the significance of the two decades. Thus, enhancing my learning and understanding of this radical decade.
By Joe Cook (Eyak), 2008
(This is adapted from a transcript of an interview for the Smithsonian exhibition Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska.)
Sea, Land, Rivers
I'm of Eyak descent out of the Cordova area. My grandmother is full-blooded Eyak. I was born in Seattle, but I've been in Cordova since I was six months old. I was raised there, raised on the boats. When I was growing up, we lived down in Old Town pretty much. We weren't too far from the old village site.
We're on the edge of Copper River Delta there, which borders the Prince William Sound. On the east side of town, out on the Delta, you'd see a big flat with ponds and a river running through it, lots of ducks and geese. Out off shore you'd see the barrier islands where there's a lot of nesting going on. You'd see habitat for fish. In the inland area, you'd see mountains and glaciers. You'd see goats, bear, black and brown. And out on the Sound area, you'd see seal, sea otters and fish streams. It's a beautiful place.
In the springtime it's on the flight path for all the birds coming back from the south, just hundreds of thousands of sandpipers, ducks and geese. Any kind of bird you can imagine is passing through there. Some of them stay the summer. When I was a kid, we used to gather the eggs. My grandmother used to gather eggs to eat, and we hunt them in the fall. Out on the barrier islands it was mostly seagulls that would nest out there, and that's where we'd get our fresh eggs in the springtime. We'd be out clam digging in the summertime. My parents used to dig clams, back before the clam crash, prior to the earthquake there. Cordova used to be the clam capital of the world back then, razor clams. After the earthquake, it raised up the land quite a bit so clams weren't as plentiful, and they're still not. Clams we pretty much have to get from Cook Inlet now.
In early spring, we have the hooligan move in. That's the first fish to come in, and then herring after that in the Sound. In the first part of May, the reds and kings (salmon) start to show up, from May until the middle of July. Then we start switching over to silver salmon, which run until September. It's actually a pretty long season, for fisheries on the Delta. The Sound starts early July and then runs through August, along there now with the hatcheries. There's a lot of fish there. When I was growing up, my uncles would take me out hunting and fishing with them. They taught me a lot. They wouldn't take me goat hunting, but they took me on the boats and around. My grandmother used to take me with her on occasion to the different fish camps she had.
Community and Family
From the stories I've heard and read, we were a small tribe. We were the in-between people. We were the traders. We were the go-betweens, between the different factions outside of us. And it seemed to work for us. Being as how we were a small tribe, that was the way we had to be, otherwise we would have probably been wiped out. Everybody in my family is able to get along through negotiation and trading. I think we're still carrying on as the go-betweens. We can get people together, talk things out. My brother Dune Lankard, he started the Eyak Preservation Council. He's trying to do the same thing at the village. It's a work in progress. We lost it all before, and we're just starting to get it back now. And I think we can.
I've fished ever since I was small. I think I had my first boat when I was twelve. I grew up on the water. My family has always fished, and we've always given to people haven't been able to get their own. In the village of Eyak we've got a program now where we get early fish, an early fishery so we can go out and take some early kings and reds. We pass them out to the elders and members of the village, which has really helped out a lot because we don't have that many fishermen anymore in the village. It's working out well, and that's through the Ilanka Culture Center. The village is getting stronger in all of the programs we've got going. We're growing it back.
It's hard to tell what was going on back in my grandmother's time, when she was younger, or back before her. You had the railroad come in and copper mines. I don't think it did my tribe any good. And they had big flu epidemics that wiped out I can't remember how many, but it was probably half the tribe. We had villages at Alaganik and at Eyak Lake. But it was back before my time, and my grandmother didn't talk a whole lot about it. So I'm assuming by her not talking about it, it wasn't a good time.
Back in the early '60s, I remember Dr. Michael Krauss (linguist, Alaska Native Language Center) coming to town and talking with my grandmother (Lena Saska Nacktan), Sophie Borodkin and Marie Smith Jones. The only time I heard the language was when my grandmother would talk with Marie or Sophie. They'd just be in a world of their own. A friend of mine and I thought about having my grandmother teach it to us, but it never happened. I'm still kicking myself for not doing that. Marie died this year. She was the last fluent speaker. So, it's a language that's technically dead now, although the Native Village of Eyak and the Eyak Preservation Council have it all on tape and the dictionary. It's there for whoever wants to learn it.
Ceremony and Celebration
My grandmother's family, they were brought up when they couldn't speak the language. My grandmother still spoke Eyak, but my mother never learned it. She had to go off to boarding school in Sitka. A lot of our inner culture for the Eyaks was lost, or just was pretty much banned, I think, during my mom's time, so I really wasn't brought up with it too much myself. My gram taught me a few things, but it just wasn't there for a long time. They tried to pretty much just take away the Native culture, and I think they pretty much did.
There was school and government, from what my mom said. When my mom was going to school, she said they had a sign in the theater that Natives were only allowed in the balcony section. They had it a lot tougher than I did. I was brought up in both worlds: White and Native. My mom said that that there's nobody better than you, so if there's nobody than you, then you're better than nobody. So actually, I had it pretty good. I could walk both sides of the street and still do to this day.
It's a lot better today. At the Native Village of Eyak, we've got the Ilanka Culture Center going. We've got classes, and we've got dance classes and a dance group. We're growing it back. It's never going to go back to the way it was, but at least we're bringing back the culture. We've got a small museum we've built, and we'll get back some of our artifacts that were taken from us years ago so we can learn about our history. Getting our programs going – the dance groups, the crafts – it can only better. I see good things happening to us.
Tags: Eyak, Alaska Native, Indigenous, Smithsonian Arctic Studies Center in Alaska
By Alice Aluskak Rearden (Yup'ik), 2009
(This is shortened version of a longer essay from the Smithsonian book Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska.)
Sea, Land, Rivers
The Yup’ik homeland in southwest Alaska extends from Bristol Bay to Norton Sound and centers on the great delta where the Yukon and Kuskokwim rivers reach the sea. It is a country of treeless tundra, countless lakes and low mountain ranges. Almost seventy Yup’ik communities are situated along the Bering Sea coast and lower courses of the two rivers, including the Kuskokwim village of Napakiak, where I grew up.
Whenever I ask elders about the traditional way of life on this land, they always say, “Caperrnarqellruuq – how difficult, how daunting it was back then.” Previous generations had to master a wide range of specific knowledge that was critical to their survival. You can see the meticulous care they took in making their tools: with a harpoon, you had to know the right wood to use, where to attach the lines, and how to balance it perfectly so that it would be effective. The values they lived by—cooperation, generosity, diligence, humility and respect for others—were just as important as skill and knowledge in sustaining their communities.
The contemporary Yup’ik lifestyle is easier than the traditional one, although people still work incredibly hard to provide for their families. We have Western schooling and such amenities as store-bought goods and clothing, although the cost of those things is high in rural Alaska. The environment around us remains the primary source of what we need, but it takes less effort to subsist by hunting and fishing with the guns, snow machines and other equipment that we depend on today than it took with the equipment of the past.
My grandparents helped care for me during childhood, and they were hard-working people who taught us how to honor Yup’ik values and utilize the resources of the land. I remember my grandmother preparing and preserving the food that my grandfather brought home from the wilderness in different seasons—blackfish, whitefish, migratory birds, caribou and moose. He had a full-time job, but was an active subsistence hunter as well. My grandmother was very concerned that we never waste food. Although she did not explain it directly, I came to understand that she was concerned that such negligence would show disrespect to the animals and diminish my grandfather’s success as a hunter.
Community and Family
At a certain time a child becomes aware of life. A baby will be sitting and looking around when an expression of surprise and delight comes to her face. My mom will say “Ellangartuq – she has just become aware.” Ella is the word for awareness, but it also means weather, the world, the universe; as human beings we gradually wake up to a consciousness of all that exists. Different stages of awareness occur during a child’s growth. For that reason it is important to be extremely careful around babies; their early perceptions will shape the rest of their lives. They will be stronger people later on if they have a quiet environment where they are never startled, or scared, or exposed to inappropriate behavior.
I grew up speaking Yup’ik as my first language and was also one of the first children to benefit from the bilingual education program that was started in the Napakiak schools. From kindergarten through elementary school I took classes that were taught in Yup’ik, and during those years I learned to read and write the language. Later on I took a Yup’ik course at the University of Alaska Fairbanks and after graduation used my training to work as a Yup’ik transcriber and translator. The work was extremely difficult at first! I was not an expert in the subtleties of grammar and structure, and the speakers used terminology that was new to me. I had to ask many people about some of the words and to check that I fully understood their meanings. I was excited by what I was doing and found it rewarding to learn new aspects of Yup’ik culture and history.
In listening to elders’ words, I have been impressed by the passion they feel about young people learning to appreciate the traditional values so that they can lead better lives and contribute to the health of their communities. Elders see how much has been lost as a result of cultural and material change and the shift away from Yup’ik ways of learning, being and speaking. Alcoholism, loss of respect for others, broken families and hopelessness come from losing that vital connection to cultural knowledge and identity.
Ceremony and Celebration
Our traditional spiritual life was based on the recognition that all things have ella, awareness. Elders were taught that if you are out walking and see a piece of driftwood sticking out of the mud, you should pull it out and turn it over so that the muddy part can dry. That piece of wood is alive and aware, and it will feel gratitude for your kindness.
Elders have told us about the masked dance ceremonies of the past. The winter celebrations honored the yuit, or inner persons, of the animals, and the dances were a kind of prayer that asked for these spirits to give their physical bodies to meet the needs of the community. Shamans made carvings or masks representing animals – walrus, caribou, seals and others. When the masks were danced in the qasgiq (community house), it was a petition for those animals to return in the spring. During Nakaciuryaraq, the Bladder Festival, the bladders of seals that had been taken by hunters during the year were returned to the sea through a hole in the ice, allowing those seals to be reborn in new bodies.
Kevgiq, the Messenger Feast, was a spring festival for sharing and bringing communities together. People worked hard throughout the year, gathering plants, hunting furs and harvesting food, and Kevgiq was a time to distribute some of what they had earned to others. Parents were especially proud if one of their children had contributed to the family’s effort for the first time – a son who brought home his first game or a daughter who caught a pike through the ice. Those events were recognized as rites of passage that meant the child was beginning a lifetime of providing for kin and community. By giving away at Kevgiq, a family ensured the future success of its children and the prosperity of the whole group. Villages still carry out the Messenger Feast tradition of inviting guests from other places and distributing presents to them. The dancing and gift-giving represent the same values as in the past, even if some of the items are store-bought goods. It is about giving generously to others and celebrating the success of the subsistence harvest.
Tags: Yup'ik, Alaska Native, Indigenous, Smithsonian Arctic Studies Center in Alaska
This collection was formed beginning in 2001 and over the next decade, though the PHC is still actively collecting photographs related to September 11, 2001.
There are a variety of formats by a variety of types of photographers that captured day of events, the days following, and reflections on the experiences.
Blog: Photographers and Their Stories by Michelle Delaney.
For additional materials search, collections.si.edu
This is a sampling of cameras and documents related to panoramas and panoramic photography.
Keywords: Panorama, panorama photography equipment, Friedrich von Martens
For additional material, search collections.si.edu.
Photographic History Collection: Eadweard Muybridge
This is a small sampling of Eadweard Muybridge Collections in the Photographic History Collection. The collection contains stereoviews, a Yosemite portfolio printed by Chicago Albumen Works, collotypes, cyanotype proof prints, glass plate positives, Zoopraxiscope glass plates, lantern slides, a timing device, a patent model, shutter, and more.
For more specifics, search collections.si.edu.
See also the online exhibition at the National Museum of American History, Freeze Frame, https://americanhistory.si.edu/exhibitions/freeze-frame-eadweard-muybridge%E2%80%99s-photography-motion.
Expatriate Englishman Eadweard Muybridge (1830–1904), a brilliant and eccentric photographer, gained worldwide fame photographing animal and human movement imperceptible to the human eye. Hired by railroad baron Leland Stanford in 1872, Muybridge used photography to prove that there was a moment in a horse’s gallop when all four hooves were off the ground at once. He spent much of his later career at the University of Pennsylvania, producing thousands of images that capture progressive movements within fractions of a second.
By the 1860s, Eadweard Muybridge, born Edward James Muggeridge in Kingston-upon-Thames, England, had reinvented himself as Helios, one of San Francisco’s most important landscape photographers. His fame brought him to the attention of Leland Stanford, former governor of California, who hired Muybridge to get a picture that would settle a hotly debated issue: Is there a moment in a horse’s gait when all four hooves are off the ground at once? Muybridge took up the challenge in 1872. In 1878, he succeeded in taking a sequence of photographs with 12 cameras that captured the moment when the animal’s hooves were tucked under its belly. Publication of these photographs made Muybridge an international celebrity.
It took six years to produce the photographs Stanford sought. Muybridge’s experiments were interrupted in 1874 when he went on trial for the murder of his wife’s lover. Acquitted on grounds of justifiable homicide, he spent two years photographing in Central America before returning to Stanford’s farm. In 1878, Muybridge finally succeeded in photographing the horse in motion.
Muybridge used the wet plate process, a relatively slow method of photography. The resulting images were hardly more than silhouettes, but they showed what had never before been seen by the unaided eye.
Eadweard Muybridge traveled to Europe for a lecture tour in the fall of 1881. In Paris, Etienne-Jules Marey introduced him to the artistic and scientific luminaries of the age. This triumphal tour inspired Muybridge to seek additional funding to undertake an even more complex investigation into animal and human locomotion.
In the summer of 1883, the University of Pennsylvania agreed to fund such a project. University Provost Dr. William Pepper placed the grounds of the new Veterinary Department at Muybridge’s disposal, and a university committee was formed to oversee the project. Muybridge began making photographs in the spring of 1884.
Muybridge photographed his subjects moving in front of a black wall marked off with a grid of white threads. He used up to 36 lenses with 12 to 24 cameras, placed at 30-, 60-, and 90-degree angles to his subjects. The two cameras placed at 30- and 60-degrees were able to hold up to 12 lenses each. The 90-degree angle was known as the lateral, or parallel, view, while the others Muybridge referred to as the front and rear foreshortenings. With this set-up, a successful session could result in as many as 36 negatives.
Muybridge’s cyanotypes are working proofs, the contact prints he made from the more than 20,000 negatives he took at the University of Pennsylvania. Since the original negatives no longer exist, the cyanotypes provide us with the opportunity to see the pictures Muybridge really made, before he edited and cropped them for publication.
The Process Muybridge used up to 36 lenses with 12 to 24 cameras, placed at 30-, 60-, and 90-degree angles to his subjects. The two cameras placed at 30- and 60-degrees were able to hold up to 12 lenses each. The 90-degree angle was known as the lateral, or parallel, view, while the others Muybridge referred to as the front and rear foreshortenings. With this set-up, a successful session could result in as many as 36 negatives.
Muybridge contact-printed his negatives as cyanotypes, the working proofs.
Using these cyanotypes as his guide, he enlarged each negative onto a separate piece of glass and assembled these positives into large glass plate composites (C). From these composites, the Photogravure Company, New York, produced a gelatin negative. The final print, called a collotype, was printed in ink from a plate prepared from this negative.
Over 800 sets of proofs exist in the unique collection found in the Photographic History Collection of the National Museum of American History. Comparisons between Muybridge’s working cyanotype proofs and his final collotype prints prove that he freely reprinted, cropped, deleted, or substituted negatives to make the assemblage of 781 collotypes in the portfolio Animal Locomotion. The Muybridge cyanotypes may be found in the online exhibit Freeze Frame: Eadweard Muybridge’s Photography of Motion.
The collection also includes prints from Muybridge’s five-month trip to the Yosemite Valley in 1867, which yielded 260 published views, 160 of them stereographs. His were among the most celebrated images taken of the Valley. By the late 1860s, the widespread circulation of Yosemite images had made the region a mythic American landscape, redolent of the grandeur, expansiveness, and power Americans had come to associate with the West and, by extension, the nation as a whole.
For more information on Eadweard Muybridge in the Smithsonian Collection see:
Keywords: photography, photographer, stop action, stop motion, freeze frame, motion picture, cyanotypes, stereographs,
This is a collection of photographs that were accidentally and intentionally exposed two or more times.
For additional photographs, search collections.si.edu.
Gatewood W. Dunston (1908-October 18, 1956) was a motion picture projectionist and later, a collector and scholar of the history of motion picture technology who bequeathed his important collection to the National Museum of American History.
The Dunston accession, number 212314, included 864 items, comprised primarily of 294 theater slides, 162 stereo views, 150 lantern slides, 157 films, 59 early projectors, 6 editing machines, 6 posters, over 100 photographs and a mutoscope reel. Additionally, Dunston left his correspondence relating to the collection, which offers a look at this formative period in the historiography of motion pictures. The films, many of which were on nitrate, were transferred to the Library of Congress in the 1960s, but the remainder of the material was cataloged and is found at numbers 4994-5099 in the Photographic History Collection. The Dunston collection at the National Museum of American History remains one of the most complete and important showing the evolution and history of the motion picture projector, as well as the motion picture industry and art.
Dunston worked the projection booth at the Granby and Lowe’s Theaters in Norfolk, Virginia, where he lived until his death. He was a friend of the early Western star and actor, William S. Hart, and obtained a number of Hart films, posters and even a Civil War-era pistol used by the actor in his films. It appears that Dunston began seriously researching and collecting movie cameras, projectors and memorabilia in the early 1940s, through correspondence with film historians Merritt Crawford and Terry Ramsaye, early projectionist Francis Doublier and a number of movie personalities and machine manufacturers. He was disheartened by the deaths of many motion picture pioneers in the 1930s and 40s, and by his perception that the history of motion picture technology was fading into obscurity. Dunston collected 35mm and 16mm copies of notable silent films, old projectors and cameras, glass theater slides, a small number of mutoscope items and editing equipment as well as stereo views and optical toys. As his health deteriorated in the early 1950s, he was forced to sell off many of his films, which were on nitrate and posed a fire hazard, and he wrote a will that stipulated his collection be left to the Smithsonian National Museum’s Section of Photography, now NMAH’s Photographic History Collection.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Color Cinema [COLL.PHOTOS.000039], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and Early Cinema Equipment [COLL.PHOTOS.000037].
The Lisa Law collection at the NMAH Photographic History Department consists of 202 silver gelatin photographs.
Copyright Lisa Law
Keywords: 1960s, counterculture, Bob Dylan, Janice Joplin, The Beatles, Lovin Spoonful, Peter, Paul and Mary, Woodstock, Haight-Ashbury, Coretta Scott King, Allen Ginsburg, Timothy Leary, Yogi Bhajan, New Buffalo Commune
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this time of anti-war demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother.
The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. A selection of the photographs were featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History, October 1998-April 1999. Together, the curators selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history. Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art.
Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children. After Law left the farm, she began a career as a photographer. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
This a collection of photographs by Arthur Leipzig.
This selection includes photographs of swamp loggers and swamp logging in the Everglades. He was on assignment for Argus Men's Magazine in 1954.
This selection includes two photographs of people using cameras, Zero Mostel, Joseph Welsh, and Ernest Rice McKinney.
Copyright Arthur Leipzig
For additional work by Leipzig, search collections.si.edu.
The Annie Appel collection at the NMAH Photographic History Collection consists of forty-two gelatin silver portraits of people who attended various Occupy protests.
Copyright Anne Appel
Charles Ruston is an American photographer that made portraits of New Mexico-based photographers between the years of 1980 and 1994. This particular collection consists of thirty-eight prints. The collection includes photographers Tom Barrows, Van Deren Coke, Betty Hahn, David Michael Kennedy, Patrick Nagatani, Beaumont Newhall, and Joel-Peter Witkin. The earliest print in this collection is of Manuel Carrillo in 1982, and the last piece added to the collection is of Holly Roberts in 1994.
Copyright Charles Rushton
Keywords: photographs of photographers, people with cameras
Rushton chose this particular project after attending a Zone VI workshop offered by Fred Picker in Vermont in 1980. While at the workshop Rushton was given specific advice to pick a topic and stick to it instead of switching random topics every day. This was when Rushton had the idea to photograph artists and photographers upon returning home to New Mexico. With help of photographer friend, Bob Hooten, Rushton was able to obtain the names of photographers that suited the parameters of his project. After a few years Rushton sold some of his prints to the Albuquerque Museum of Art and History for their collection of portraits of New Mexico Artists and expressed interest in seeing his future work. With the permission of the museum, Rushton used the Albuquerque Museum of Art and History name to help him gain influence and access to more famous photographers such as Beaumont Newhall.
Rushton studied photography under Fred Picker, Oliver Gagliani (depicted in the collection), and Arnold Newman (depicted in the collection).
This is a sampling of photographic self-portraits.
Photographic history is filled with images of photographers turning the camera on themselves. There are a number of strategies and tools that professional and amateur photographers have used, included mirrors, cable releases, timing devices, and simply turning the camera around at arm's length. Cell phones now allow almost effortless self-portraits, known as "selfies."
Keywords: self portrait, selfie, bulb release, string release
For additional images, search at collections.si.edu.
This collection of photographs was the first purchase of art photography for what is now the Photographic History Collection.
Three prestigious Washington, D.C., organizations played a major role in the establishment and acceptance of art photography in America. The Camera Club of the Capital Bicycle Club sponsored the 1896 Washington Salon and Art Photographic Exhibition. The Cosmos Club provided the exhibit space. And fifty of the salon's images were purchased to expand the Smithsonian Institution's national collection.
The online exhibition that explores this exhibition further can be found at https://americanhistory.si.edu/1896/index.htm.
This an assortment of photographs of people and their pets, including a few mascot.
For additional images, search collections.si.edu.
This collection includes objects and resources related to founding of the American system of democracy and those who have and have not been eligible to vote. When it was established, the United States of America boasted more eligible voters than ever before. But it was still just a fraction of the new country’s population. The nation’s founders never envisioned the numbers, classes, sexes, and races of Americans that cast ballots each Election Day. Throughout American history, voting rights have expanded, contracted, and expanded again as Americans dealt with shifting issues of politics, race, class, and wealth.
This is an assortment of photographs depicting New York City.
This is an assortment of photographs from the Photographic History Collection.
Please note, some of these photographs have copyright assignments.
Keywords: POTUS, President of the United States, president at rest, president at work, Oval Office, White House, press conference, president at play
Presidents: Ulysses S. Grant, Gerald Ford, Bill Clinton, George W. Bush, George H. Bush, Ronald Reagan, Abraham Lincoln, John F. Kennedy
With and without the vote and throughout American history, young people have been a force to be reckoned with as they take action and stand in support of the issues that matter most. In 2020 this legacy will continue; 22 million young people will be eligible to vote in American elections for the first time and countless more will likely participate in the electoral process in other ways. The Young People Shake Up Elections (History Proves It) video series from the Smithsonian’s National Museum of American History shares 10 stories of young people shaping and changing elections throughout American history.
This collection shares resources about stories featured in the videos plus additional stories of young people shaking up elections. View the full series and learn more at https://s.si.edu/youth-democracy.
Birds' beaks tell a lot about them, especially where they find their food and how they eat it. This collection includes a bird curator’s drawings that clearly show the different kinds of beaks, which evolved because they are good for breaking seeds, catching insects or filtering out shrimp or algae.
Keywords: scientific illustration, sketches
Blogs written by Shannon Thomas Perich and published by the National Museum of American History.
What specifically is the role of the arts in helping us construct welcoming and inclusive societies for all through education?
This collection is the second in a series of four created to support the Re-Imagining Migration DC Seminar Series, held between December 2019 and March 2020. The seminar series is led by Verónica Boix Mansilla, Senior Principal Investigator for Harvard Graduate School of Education's Project Zero, and Research Director for Re-Imagining Migration, with in-gallery experiences provided by educators from the Smithsonian American Art Museum, the National Museum of American History, the National Portrait Gallery, the Smithsonian Center for Learning and Digital Access, and the National Gallery of Art. This set of collections is designed to be dynamic. We will continue to add material, including participant-created content, throughout the seminar series so that the collections themselves can be used as a type of textbook, reflecting the content, development, and outputs of the full seminar series. Please check back to the hashtag #ReImaginingMigration to see a growing body of materials to support educators as they strive to serve and teach about human migration in relevant and deep ways.
Key to the question of justice in a world shaped by migration is the “recognition gap” – migrants/refugees having lost the status, belonging and recognition in the old land, find themselves unrecognized (viewed as less worthy or invisible) in the new. What are the practices of re-representation/de-stigmatization that prove most effective to bring to light our default “single stories” our “fear” ? What are the daily, aesthetic and cultural tools we have to contribute to the de-stigmatization the refugee, restoring dignity to his, her narrative? In what ways might different lenses (media, demographics, history, art) afford us insights that are unique and relevant?
In this session we examine the role of the arts to help us engage a topic as difficult and sensitive as the 70 million fellow human beings who have been forced to leave their home. Our goal is to begin to articulate what arts and artists do when inviting us to engage in complex issues. Because the particulars of a given lens are best highlighted in comparison with others we experience three lenses attempting to tell a similar story about the situation of refugees today: Art, photojournalism, demography.
Our approach: We experience Mosses, A WP visual essay and UNHCR report
We ask: about whom? By whom? For whom? How it speaks to me?
We then examine the unique affordances of the arts and how other lenses can intersect.
Practice using portraiture to explore the importance of American women in the history of art and design, science, politics, and beyond. Take a deep dive into this collection which addresses the relationship between history, art, and biography and their connections to the theme of extraordinary women in history.