Found 5,105 Learning Lab Collections
Artworks aligned with concept-based units:
- Outside Influence
- Friendship & Relationships
- Stress, Balance, Self-Care
- The Impact of Choices
- Changing the World
- Competition and Challenge
- Overcoming Obstacles
- Survival & Dystopia
- Why Stories Matter
Artworks grouped according to concept-based units:
- Role in the Community
- Change & Transition
- Persuasion & Consumerism
- Art & Aesthetics
- Innovation & Progress
The Scaglione Antique and Vintage Office Museum
This collection features American made hole punches manufactured between the years 1874 and 1932. It is one of the the most complete collections of antique and vintage paper perforators in the world. It is interesting to note that some of the machines in this collection have not been seen in over 100 years. With the exception of wood block cuttings use in the advertisement process, these machines may be the last of their kind.
Hole punches have been around since the early 1870’s therefore, we have a great selection of antique and vintage machines for review and examination. The development of punches really took off in the early 1900’s and improvements followed. Many machines produced today are based on designs dating to 1912.
Today, we refer to this office machine as a hole punch. During the period dating from 1874 to the 1930's these machines were known as paper punch, hole punchers, perforators, or paper perforators. There was no real standard for a machine that punched hole.
In 1882 James Shannon filed for a patent for his paper file. While the patent is for a complete paper file, his patent described the paper punch that was part of his invention. After reviewing the patent one is left wondering if he was at a loss as to what to call his hole punch. As a result his invention is overlooked by many and the credit for the invention of the hole punch has been credited to someone else. (enclosed as a pdf at the bottom of this page - The first paper hole punch)
Even now, some examples are proving to be more desirable to collectors and are harder to find. The Globe No. 4 produced by Globe-Wernicke is one such machine that has a following of not only the punch collector, but by collectors of the machine age. This machine appears to draw the most interest from individuals wanting an old paper hole punch for the desk or collection. Another example is the early examples of the Tengwell which had a nicely scrolled plate and was mounted on a beautiful oak base.
Variants hold their own interest to many collectors. You will find the same machine, such as the Improved Hummer, was produced by different companies. Research has shown that many companies or their assets changed hands more than once during the century and that the machines were never improved upon or only minor changes were introduced, usually just parts on the machine or the manufacturers name.
When examining the early machines, it is easy to see these machines are historic. They were developed and manufactured during the mechanical revolution, Simple in design yet dependable. These 19th century designs are what you would expect of the era and this is where the concept of paper punches began.
Many paper hole punches have been lost to time, because of modernization, workmanship or better material. Examples such as the Sam’l Tatum’s Samson, Eclipse, and the No. 27 are just a few of those machines that were lost or discontinued. These machines were the work of Walter Mendenhall, long time employee of the Tatum Company. Compared to the punches today, these machines are complex and curious. Their mechanisms were unique in design and never copied by any other manufacturer.
Historic images of jazz bands on tour
Female jazz musicians
Behind-the-scenes images of jazz musicians on tour, in the studio and composing
Original hand-written or early prints of sheet music
Action shots of solos and rehearslas
This presentation will highlight African Americans on D-Day, using a few select objects from the D-Day invasion currently on display at NMAAHC. It will also emphasize other African American experiences during World War II.
Presenter: Retired U.S. Army Colonel Krewasky A. Salter, PhD is a guest associate curator and advisor at the National Museum of African American History and Culture, where he curated the inaugural exhibition Double Victory: The African American Military Experience.
"I Hardly Know Where to Start": Personal Narratives of D-Day within the Veterans History Project Collection, Library of Congress
This presentation will include a discussion of two unique items--a scrapbook and a personal diary—submitted by D-Day veterans Felix Adams and Homer Hall to the Veterans History Project at the Library of Congress.
Presenter: Megan Harris is the senior reference specialist for the Veterans History Project (VHP) of the American Folklife Center at the Library of Congress
This presentation highlights the experiences of Latinos in D-Day and discusses the significance of Latina/o participation during World War II.
Presenter: Laura L. Oviedo; Smithsonian fellow in the Division of Political and Military History at the National Museum of American History and a PhD candidate of twentieth-century American history at Texas A&M University
As part of its NMAI Veterans Memorial project research, this presentation will feature the story of Charles Norman Shay who served at Normandy and has been honored with a memorial overlooking Omaha Beach and some of the other stories of Native American service connected to D-Day.
Presenters: Rebecca Head Trautmann is a curator and researcher working with contemporary art at the National Museum of the American Indian, Smithsonian Institution.
Herman J. Viola, PhD, curator emeritus at the National Museum of the American Indian, Smithsonian Institution, and is an authority on American Indian history and culture and the exploration of the American West,
American aircrews flew the Martin B-26B Marauder bomber named Flak-Bait on more missions than any other American warplane during World War II, which included three times on D-Day.
Presenter: Jeremy R. Kinney, PhD is curator of the World War II American military aviation collection at the National Air and Space Museum.
Intelligence and counterintelligence played a critical role in the successful D-Day landings. German spies in Britain were captured and turned, codes were broken, operatives collected information behind enemy lines, aerial surveillance provided visibility in German troop movements and fortifications, and a successful deception campaign pointed the Germans to false landing sites. Without the accumulation of information and insight into German operations, the D-Day landing may have ended in disaster.
Presenter: Gregory Elder; chief historian at the Defense Intelligence Agency (DIA) and content manager for the DIA Museum, working in collaboration with Smithsonian Exhibits
This presentation will focus on personalizing the memory of D-Day: how do memorials create official versus vernacular/local/personal memory? How does material culture inform memory? Whose responsibility is it to maintain memorials? Who gets remembered? Who gets forgotten?
Presenter: Kate Clarke Lemay, PhD; Historian at the National Portrait Gallery
Revisiting what we know and value about some of the most well-known photographs of the historic landing on Omaha Beach.
Presenter: Shannon Thomas Perich is curator of the Photographic History Collection at the National Museum of American History, Smithsonian Institution,
What was life like for Americans during the 1920s? How did life change in the 1930s? Did all Americans share the same experiences throughout these two decades?
In the two decades between the end of WWI and the start of WWII life in America changed dramatically. Use the artifacts in this collection to create an exhibit that can help to answer these questions.
What is most important to know about America in the 1920s and 1930s ?
What is the most significant change that took place after the 1929 Stock Market crash?
This collection includes before and after images of American Indians and Immigrants who have "Americanized."
This presentation will focus on how technology can be simple but when employed in an innovative fashion, also transformative.
Presenter: Frank Blazich, Jr., PhD; Lead Curator of Military History at the National Museum of American History
Charles Russell brought the west alive with his paintings and sculptures of western life. His authentic depictions of Native Americans allow the viewer to appreciate the dress and life of the plains Indians. Also skilled in sculpture, Russell depicts cowboys and wildlife in action settings. This lab provides samples of Russell's best work.
Collection of Native American Ledger Art and drawings on hides.
Would be used with other resources on modern Ledger Art being created today, as well as the history of ledger art and hide paintings in Plains Indian cultures.
This collection was created for the webinar with SCLDA on May 8th, 2019. It is based on three collections created by Marcela Velikovsky (Bullis School) and Vicky Masson (Christ Episcopal School) as part of the 2018 Smithsonian Virtual Teacher Curricula Creation Opportunity with the Smithsonian Center for Learning and Digital Access (SCLDA), and thanks to the Smithsonian Latino Center's Latino Initiative Pool funds.
These collections highlight Latin American works of art, that show how culture shapes the way we see the world, others, and ourselves, and they also raise awareness about Latinx diversity. They explore “People, Place, and Time: How Art Reflects Culture.” Products, practices and perspectives displayed in Latinx art, show how our place and history (past) influence who we are (present) and who we want to be (future) in geographical, social, economic, and/or historical contexts.
- People, Place and Time: How Art Reflects Culture - Night of the Dead by Alan Crane
- People, Place and Time: How Art Reflects Culture - Caja de Memoria Viva II: Constancia Colón de Clemente by Adrián Román (“Viajero”)
- People, Place and Time: How Art Reflects Culture - Méndez v. Westminster, 1947
#LatinoHAC, #Global Competence, #SDGs, #TeachSDGs, #World Language, #Spanish,
Suffrage marked an important moment in the progression of women's participation in American democracy and civic life. Yet it was an imperfect victory, and one that stands neither as a beginning nor an end, but as an important milestone in the fight for equality, justice and representation. The 2019 National Youth Summit will look at woman suffrage as an example of how groups with limited political power have shaped and continue to shape our democracy using tactics and tools, like public protest and the vote, to give voice to issues and galvanize fellow Americans into communal movements for change. Use this collection to examine the legacy of the woman suffrage movement and explore the guiding question: What can we learn from the tactics of the suffragists?
Download the conversation kit and learn about the 2019 National Youth Summit webcast here.
"Sometimes I feel that I can hardly wait till the time comes to escape from city life, to the free air of the everlasting hills." -Mary Vaux Walcott, Letters to Charles Walcott, Feb 19, 1912.
This collection contains personal selections from the nearly 800 botanical illustrations by Mary Walcott held at the Smithsonian American Art Museum.
From Wikipedia (March 5, 2019): Mary Morris Vaux[a] was born in Philadelphia, Pennsylvania, to a wealthy Quaker family. After graduating from the Friends Select School in Philadelphia in 1879, she took an interest in watercolor painting. When she was not working on the family farm, she began painting illustrations of wildflowers that she saw on family trips to the Rocky Mountains of Canada. During the family summer trips, she and her brothers studied mineralogy and recorded the flow of glaciers in drawings and photographs. The trips to the Canadian Rockies sparked her interest in geology.
In 1880, at the age of nineteen, Vaux took on the responsibility of caring for her father and two younger brothers when her mother died. After 1887, she and her brothers went back to western Canada almost every summer. During this time she became an active mountain climber, outdoors woman, and photographer. Asked one summer to paint a rare blooming arnica by a botanist, she was encouraged to concentrate on botanical illustration. She spent many years exploring the rugged terrain of the Canadian Rockies to find important flowering species to paint. On these trips, Vaux became the first women to accomplish the over 10,000 feet ascent of Mount Stephen. In 1887, on her first transcontinental trip via rail, she wrote an engaging travel journal of the family's four-month trek through the American West and the Canadian Rockies.
Over her father's fierce objections, Mary Vaux married the paleontologist Charles Doolittle Walcott, who was the Secretary of the Smithsonian Institution, in 1914, when she was 54. She played an active part in her husband's projects, returning to the Rockies with him several times and continuing to paint wildflowers. In 1925, the Smithsonian published some 400 of her illustrations, accompanied by brief descriptions, in a five-volume work entitled North American Wild Flowers. In Washington, Mary became a close friend of First Lady Lou Henry Hoover and raised money to erect the Florida Avenue Meeting House, so that the first Quaker President and his wife would have a proper place to worship. From 1927 to 1932, Mary Vaux Walcott served on the federal Board of Indian Commissioners and, driven by her chauffeur, traveled extensively throughout the American West, diligently visiting reservations.
When she was 75, she made her first trip abroad to Japan to visit lifelong friend and fellow Philadelphia Quaker, Mary Elkington Nitobe, who had married Japanese diplomat Inazo Nitobe.
She was elected president of the Society of Woman Geographers in 1933. In 1935, the Smithsonian published Illustrations of North American Pitcher-Plants, which included 15 paintings by Walcott. Following the death of her husband in 1927, Walcott established the Charles Doolittle Walcott Medal in his honor. It is awarded for scientific work on pre-Cambrian and Cambrian life and history. Walcott died in St. Andrews, New Brunswick.
#fivewomenartists #5womenartists #BecauseOfHerStory
The following collection acts as a supplemental resource for the Power of the People: Intersectionality of the American Indian Movement and the Black Panther Party 12th grade lesson plan.
This collection reinforces the question:
How do the parts of plants and animals help them to grow and survive?
Students will look for patterns as they observe various plant and animal artifacts to determine the necessary parts for living organisms.
The visible thinking routine of "parts, purposes and complexities" will be at the center of this collection as we analyze the needs of plants and animals and how their parts satisfy those needs. While we took a deep dive into just a couple of the living things, I've included a few other artifacts for educator choice.
This collection also utilizes the See, Think, Wonder routine to help pique student interest, build student engagement and introduce the concept of parts and purposes of living things.
*I paired this lesson with a real world observation of a plant to observe, examine and describe the function of plant parts.
This collection was developed for a unit based upon the Harlem Renaissance and the art movement incorporating the style of visual artist Romare Bearden for students PreK thru 6th grade. Students were exposed to different musical artists such as Cab Calloway, Louis Armstrong, and Duke Ellington to make the connections between Bearden's art work and their musical abilities. This group of artifacts was beneficial for students to be exposed to people, art work, and history that they may not have been exposed to before. Using the thinking routines such as 'See, Think, Wonder' was a great way for students to dive deeper into images, not just art work but even images of people and the differences in time periods.