Fogelson Library

MARCH IS WOMEN'S HISTORY MONTH

2012-02-29T21:13:00.011-07:00

2012 National Women’s History Month Theme:

Women’s Education – Women’s Empowerment

The equal opportunity to learn, taken for grated by most young women today, owes

much to Title IX of the Education Codes of the Higher Education Act Amendments.

This legislation, passed in 1972 and enacted in 1977, prohibited gender discrimination

by federally funded institutions. It has become the primary tool for women’s fuller

participation in all aspects of education from scholarships, to facilities, to classes

formerly closed to women. Indeed, it transformed the education landscape of the

United States within the span of a generation.
(Quote from the National Women's History Project. Read more at nwhp.org/2012theme.)

It is the 40th anniversary of the passage of Title IX. For more information on Title IX, read about its history here.

The National Women's History Project 2012 honorees are six women who are educational pioneers. They are:

Emma Hart Willard (1787-1870), Women Higher Education Pioneer;

Charlotte Forten Grimke (1837-1914), Freedman Bureau Educator;

Annie Sullivan (1866-1936, Disability Education Architect;

Gracia Molina de Pick (b. 1929), Feminist Educational Reformer;

Okolo Rashid (b.1949), Community Development Activist & Historical Preservation Advocate;

Brenda Flyswithhawks (b. 1950), American Indian Advocate and Educator.

Willard


Grimke


Sullivan


Molina-Enriquez

Rashid

Flyswithhawks

You can read a short biography of each of these outstanding women by picking up a brochure from the Women's History Month display on the table near the entrance to Fogelson Library. (You can also read about them at http://www.nwhp.org/whm/honorees2012.php). Browse our selection of library materials on the subject of women and education included in the display. Don't forget: all display items from the library's collection are available for checkout!

This March for Women's History Month, fogelsonblog will profile a series of women artists and teachers. Keep checking back this month to learn about a writer, a visual artist, a filmmaker, a performer, and a photographer who have a strong commitment to education.

Black History Month, Week 3: PHOTOGRAPHERS

2012-02-22T15:44:00.009-07:00

Featured book in this week's display: Reflections in Black: A History of Black Photographers 1840 to the Present by Deborah Willis (2000)

From the Introduction:

   "While there is a growing awareness of works by contemporary black photographers, there has been very little historical research or critical analysis of the images produced by nineteenth and early twentieth-century African-Americans. Few art historians and scholars in the field of nineteenth-century photography have focused on the fine works and activities of African-American photographers.
   "African-Americans have produced photographs since 1840. [...] The first photographs made by black photographers are, like all photographs of this period, significant in terms of their contributions to American history and culture. What makes them particularly significant is that the inhumane institution of slavery existed in the 1840s and would survive another twenty-five years. ... Although pervasive racial discrimination existed throughout the United States, hundreds of free men and women of color established themselves as professional artists and daguerrotypists during the first twenty-five years of photography's existence.
   "It is astonishing for us to look back with a late twentieth-century perspective at the lives and works of these early nineteenth-century black photographers. Concerned about how black people were portrayed in a world of rank racist imagery, black photographers were especially sensitive to negative depictions of black Americans during the mid-1800s. [...] Many black photographers contradicted these depictions by making representative portraits of their subjects. Most of their African-American clients wanted to celebrate their achievements and establish a counterimage that conveyed a sense of self and self-worth. Obligingly, many black photographers recorded the significant event in African-American life--celebratory as well as unsettling." (Willis, Deborah, Reflections in Black, W. W. Norton, 2000, p xv-xvii)

Jules Lion (1810-1866) made Daguerreotype of an Unnamed Young Woman, probably in his New Orleans studio in 1842. Born and educated in France, Lion exhibited and won prizes for his paintings and lithographs in Paris by the mid-1830s. He emigrated to New Orleans in 1837, and was employed in the portrait lithography studio at the New Orleans Bee. Back in France in 1839, Lion learned to make daguerreotypes. He brought his new skill back to New Orleans where he lived the rest of his life, making (daguerreotype and lithographic) landscapes of New Orleans and many portraits, and instructed art and lithography at Louisiana College.


[Urias A. McGill, half-length portrait, facing front] sixth plate daguerreotype, by Augustus Washington, about 1855. Urias McGill was one of four McGill brothers who ran a very successful business in Liberia. The brothers owned several trans-Atlantic vessels for exporting Liberian products such as palm oil and camwood. The firm also operated a store in Monrovia. The photographer, Augustus Washington (c.1820-1875), was born in Trenton NJ and studied at the Oneida Institute, Kimball Union Academy, and Dartmouth College before becoming a teacher in Hartford CT. He learned to make daguerreotypes to finance his education, and eventually opened a daguerrean studio in Hartford. In 1852, he emigrated to Monrovia, Liberia, where he opened another studio. Eventually he gave up photography to serve in the Liberian House of Representatives and Senate.

This is a portrait (c.1875) of J. P. Ball, African American Daguerreotypist, Entrepreneur, and Activist. Ball traveled extensively and used his photographic skill to build a successful business as well as to document the lives of slaves. He used his candid images in lectures, pamphlets, and other antislavery activities. He also made important images from the Civil War and Reconstruction. Ball was born ("a free person of color") in Virginia in 1825. He settled in Cincinnati in 1849, Ohio being at the time a leading abolitionist state, and Cincinnati a sophisticated, cultured gateway to the West. His success was such that he was named the official photographer of the 25th anniversary celebration of the Emancipation Proclamation (1887). During the 1870's he left Ohio and, over the next 30 years, resided and opened studios in several locations including St. Louis, Minneapolis, Seattle, Portland, and eventually Honolulu. He died in Honolulu in 1904. (above, Photographer unknown)

Thomas E. Askew (1847-1914) photographed Summit Avenue Ensemble in the living room studio of his home in Atlanta in 1899. The photograph's subjects are Askew's five sons and a neighbor, all musicians. "...[I]n the portraits prepared by Askew, the Georgia Negro Exhibit provided a resounding declaration of the self-worth, self-esteem and self determination of a people in spite of the obstacles thrown in their path." *


This portrait of Frederick Douglass was taken about 1895 by Cornelius Marion Battey (1873–1927). Battey, an educator, is known for his portraits of musicians, statesmen and Masons. He was the director of the Photography Department at the Tuskegee Institute, Tuskegee, Alabama. His photographs were exhibited in US and European galleries, and published in several magazines.

P. H. Polk (1898-1984) was a student of Battey at Tuskegee Institute, where Polk, too, became a faculty member after 1927. Pearl Cleage Lomax, author of a book about Polk entitled P. H. Polk: Photographs, says of Polk: He would take our pictures and let us see that those who said we were invisible were lying. That those who said we were ugly were lying. That those who claimed we were less than human were lying. That those who said we did not love each other, and marry, and produce children, and suffer, and grow old were lying…[He] would let us bloom in the safe zone before his camera, and we saw ourselves differently through his lenses. We saw ourselves shining in all our specificity. In all our generalities. In all our terrible humanness. We saw ourselves just shine.** Polk is well known for portraits of influential personalities like Langston Hughes, Zora Neale Hurston, and George Washington Carver; and for his candid portraits such as the one above: The Pipe Smoker, 1932, (from the Paul R. Jones Collection, Atlanta, GA), many featuring Alabama farm workers of the 1930s.

* Quote from Profile: Thomas E. Askew , (c) ddfr.tv, 2012 (Digital Diaspora Family Reunion).
** Lomax, Pearl Cleage, P. H. Polk: Photographer. Nexus Press, 1980.

Photographs above (except The Pipe Smoker) are in the public domain because their copyrights have expired: published in the US before 1923.

The Pipe Smoker is from the Paul R. Jones Collection, published digitally by the Traditional Fine Arts Organization (TFAO) online magazine, Resource Library, as part of an exhibit catalog for "Through These Eyes: The Photographs of P. H. Polk" at the Montgomery Museum of Fine Arts, Montgomery, Alabama, August-October, 2000.

Thank you Ana!

2012-02-19T19:32:00.000-07:00

How Fogelson Library is an asset to a basic human characteristic: curiosity!

Thanks to our film student Ana Livier Cortes Aguirre for sharing this!

BLACK HISTORY MONTH -- WEEK 3: Literature

2012-02-15T13:27:00.002-07:00

Richard Wright, photo by Carl Van Vechten, 1939.

Richard Wright from "Blueprint for Negro Writing"

The Negro writer who seeks to function within his race as a purposeful agent has a serious responsibility. He is being called upon to do not less than create values by which his race is to struggle, live and die. . .create the myths and symbols that inspire a faith in life. It means that in the lives of Negro writers must be found those materials and experiences which will create in them a meaningful and significant picture of the world today. . . And the time has come to ask questions, to theorize, to speculate, to wonder our of what materials can a human world be built.

Wright's Black Boy, Native Son, and American Hunger are available for checkout from the library at call number PS3545 .R815 .

Toni Morrison

Toni Morrison, photo by Angela Radulscu, 2008.

My parallel is always the music, because all the strategies of the art are there. . . Music makes you hungry for more of it. . . It slaps and it embraces; music is the mirror that gives me necessary clarity. . . The literature ought to do the same thing.

[quoted in Paul Gilroy's Small Acts, published by Serpent's Tail, 1993.]

Toni Morrison is a novelist, professor and Nobel Laureate. Hear her Nobel Lecture here. (33 minutes)

Langston Hughes from Selected Poems

[T]he police beating Negroes' heads, that ole club says, Bop, Bop, Be Bop! That's where Bebop came from, beaten right out of some Negroes' heads into their horns.

You can find Langston Hughes' plays and poetry on the lower level at call number PS 3515 .U274.

Langston Hughes, photo by Carl Van Vechten, 1936.


John Edgar Wideman, photo by Geoffrey A. Landis, 2011

John Edgar Wideman, from the Preface of Breaking Ice edited by Terry McMillan:

Good stories transport us to these extraordinarily diverse regions where individual lives are enacted. For a few minutes we can climb inside another's skin. Mysteriously, the dissolution of ego also sharpens the sense of self, reinforces independence and relativity of point of view. People's lives resist a simple telling, cannot be understood safely, reductively from some static still point, some universally acknowledged center around which all other lives orbit. Narrative is a reciprocal process, regressive and progressive, dynamic. . . . Minority writers hold certain peculiar advantages in circumstances of cultural breakdown, reorientation, transition. We've accumulated centuries of experience dealing with problems of marginality, problems that are suddenly on center stage for the whole society: inadequacy of language, failure of institutions, a disintegrating metropolitan vision that denies us or swallows us, that attracts and repels, that promises salvation and extinction.. . . Our stories can place us back at the center, at the controls; they can offer alternative realities, access to the sanctuary we carry around inside our skulls.

Fogelson Library has a copy of Wideman's collection of early African-American writing with the exquisite title:
My Soul Has Grown Deep (Call number E185.96 .W52 2001) as well as five other works by him.

Walter Mosley, 2007. Photo by David Shankbone.

Walter Mosley Life Out of Context

If I don't write, I feel that I'm not participating in my own, internal, life. Somewhere along the way I did learn that there is a personal context for me, and that background is writing. I wake up in the morning, in this skin filled with desires that have no immediate language. Finding that language is my job if not my destiny, and failing to write is as serious a crime as a sentry going to sleep at his post during wartime.

Mosley is the author of the Easy Rawlins mystery novels. A versatile author, artist and really interesting human being, you can find out more about him here: waltermosley.com

Works quoted above, and many other books dealing with literature of the African Diaspora, are on display near the circulation counter this week. Check them out!

Photographs by Carl Van Vechten are from the Prints and Photographs Division of the Library of Congress: http://memory.loc.gov/ammem/collections/vanvechten/index.html, and are in the public domain. Other photographers' work is used under the terms of the GNU Free Documentation License and/or the Creative Commons Attribution-ShareAlike 3.0 License. See commons.wikimedia.org for more information.

Black History Month -- Week 2

2012-02-08T20:50:00.005-07:00

This week we feature items from the collection that deal with the performing arts: music, film, and theatre.

From Cultural Codes: Makings of a Black Music Philosophy: An Interpretive History from Spirituals to Hip Hop by William C. Banfield.

The blues is the first great Black American music form with its own unique musical language, structure, practice, style, ethos, and philosophy, complete with cultural mythologies and cosmology and a form that provides a vehicle for inventive, individual creative musical expression. It is as well an openly social form that represents the freedom and desire to speak what you want about your experience, which is universally adopted and understood as a form that evokes and contains this as "existential musical meaning." It was the first popular music form that the world could point to and say, "Black people, they created that." This is why it is so fundamentally important in the historical quest for definition and identity in Black American culture. (p.101-102.)

You will find this Cultural Codes among the displayed books on the desk between the stairs and the circulation counter on the main level. If you look for it after this week, you will find it at call number ML3479 .B364 2010.


Scott Joplin (1867-1917), known for his many ragtime compositions, was trained and composed in the classical tradition as well. His largest works are the operas A Guest of Honor and Treemonisha. This photo by an unknown photographer is from about 1907.

Learn more about Scott Joplin by clicking here.

You can hear his own pianola recording of The Maple Leaf Rag here , and Solace (my favorite rag) here .

Ma Rainey (1886-1939) was an important blues singer and the first woman blues singer to be recorded professionally. From a musical family, she started touring at a young age with minstrel and vaudeville shows. (Photo, by an unknown photographer, is in the public domain.)

Read a short biography of Ma Rainey at biography.com .

Hear her sing Prove It On Me Blues by clicking here . (If you click nothing else, click that. It's terrific.)

Bill Robinson (1878-1949). Photo by Carl Van Vechten, 1933.

Want to see some unbelievable dancing? BillBojanglesRobinson.youtube.com

From Ossie Davis' Preface to
The Impact of Race: Theatre and Culture by Woodie King, Jr.

...Black Theatre is itself little more than a figment of a dreamer's imagination. Still, the more it doesn't exist, the more we love it and defend it, and argue about it, and fight over it, and promote it, and tell ourselves great big lies about it existing--mostly in the eye and in the heart of the beholder--what it means and what it's all about and why its presence is absolutely essential to our status as a people.. . .

Someday we will prevail, and we Black folks will understand why we must ultimately come into control of the images we want the world to know us by; we will come to respect and depend on our own Black Theatre, which will have something more to offer than genius and raw gumption, good intentions and fly-by-night productions. We'll have stable, respectable, black middle-class institutions owning and operating their own theatres from one end of the country to the other. Our playwrights and our performers will join our musicians and our athletes as carriers of the message of black artistic excellence.

Ossie Davis, 2003


This portrait of Ira Aldridge is from about 1830. Aldridge is dressed as the character Mungo from The Padlock by Isaac Bickerstaff. Born in New York in 1807, Aldridge emigrated to England about 1827. He performed many roles, including Shakespeare's Othello and Aaron (from Titus and Andronicus), for audiences in London and throughout Europe until his death in 1867.

For more information about Ira Aldridge, see Ira Aldridge .

There is interesting information about African-American silent films in the blogs: www.amoeba.com, and normanstudios.org .

Actor Rex Ingram (1895-1969). In costume from The Green Pastures. Photo by Carl Van Vechten, 1936.

You'll find a biography of Rex Ingram at aaregistry.org

Ossie Davis (1917-2005). Photo 1951, by Carl Van Vechten.

See an impressive list of the film and TV apprearance of Mr. Davis at imdb.com . This, of course, is only a fraction of his life's work as an activist, actor and writer. You can read more about him at georgiaencyclopedia.com .

All photographs by Carl Van Vechten are from the Prints and Photographs Division of the Library of Congress: http://memory.loc.gov/ammem/collections/vanvechten/index.html, and are in the public domain.

BLACK HISTORY MONTH: ANOTHER PERSPECTIVE

2012-02-05T14:16:00.001-07:00

http://www.youtube.com/watch?v=GeixtYS-P3s&noredirect=1

Thank you Sixty Minutes TV program and Morley Safer.

What are your thoughts? We would love to know! Please leave a comment.

BLACK HISTORY MONTH

2012-02-01T21:13:00.005-07:00

During February, fogelsonblog and the main level displays at Fogelson Library will feature items in the collection about African-American history. In addition to the general topic of history, the blog and one of the display tables will focus weekly on the history of a different aspect of the arts.

This first week's topic is visual art including painting, drawing and sculpture. A few books on the topic are on the desk between the circulation counter and the stairs.

Black Artists and Craftsmen in the Formative Years, 1750-1920

Work by black American artists has frequently been discussed as though it were a form of expression separate from that produced by artists of the majority culture. That this approach has been readily sanctioned comes as no surprise, for most literature on black American artists reflects sociological patterns that have been fostered by the tradition of classifying people and their culture according to race.
While one may argue the validity of distinct categories separating artists and craftsmen according to national origin and ancestral heritage, the most crucial issue will always be the quality of the work and its relevance to the society in which it was created. Like all forms of expression, art is seldom so ordered that any one style is acceptable to all who consider themselves artists. The black artist is no different from any other in his struggle to express his own individual sensitivity to order and form and at the same time relate to the cultural patterns of the time and place in which he lives. In this sense art, though seldom allowed to perform its function without critical analysis, knows no racial boundaries. It is ultimately a universal language of form, a visual dialogue about man's cultural history that can be read and understood without regard to the color of the artist. As a participant in this dialogue the black American artist can be seen as part of the mainstream despite the paucity of critical recognition.

David C. Driskell, from Two Centuries of Black American Art, 1976. Check out the book from Fogelson Library, call number N6538 .N5 D74 1976.

One of our databases, ARTstor, is featuring art from its collection for Black History Month.
Check out artstor.org!

The Banjo Lesson‎: Henry Ossawa Tanner, The Banjo Lesson, 1893. Oil on canvas, 49" × 35½". Hampton University Museum. (Public Domain.)

Henry Ossawa Tanner, 1907. Photo by Frederick Gutekunst. (Public Domain.)


"Gettin' Religion" by Archibald John Motley, 1891-1981, painting 1948.

This work is in the public domain in the United States because it is a work of the United States Federal Government under the terms of Title 17, Chapter 1, Section 105 of the US Code.

ARTIST RON BLACKBURN PAINTING AN OUTDOOR WALL MURAL AT THE CORNER OF 33RD AND GILES STREETS IN CHICAGO, 1973.
Photograph by John H. White, 1945-

This work is in the public domain in the United States because it is a work of the United States Federal Government under the terms of Title 17, Chapter 1, Section 105 of the US Code.

Also see these web pages for interesting information and some wonderful images:
biography.com
askart.com
blackartinamerica.com

Fogelson Library's Online Catalog

2012-01-25T11:52:00.002-07:00

New students, did you know? The online library catalog is accessible from any device with internet connection. You can search for an item from your home computer, iPad, or even your smart phone!

Here is an introductory screencaset, about four minutes guiding you through a basic search. It is intended
for those who have not used the catalog before.
Let us know what you think by leaving a comment. Thanks!

If you'd like to watch this in a larger format, follow this link: http://www.screenr.com/LeCs

Using Fogelson Library's Catalog

Fogelson Library Research Award

2011-11-29T21:09:00.005-07:00

“The great difficulty in education
is to get experience out of ideas.”

~ George Santayana

Does this mean having an experience while looking into some idea or other? Some of us wish only to avoid researching and writing, or to get every assignment finished and over with so we can get on with the business of experiencing life and creating art. On the other hand, others have researched a topic and actually enjoyed it!

It is a wonderful thing to have a good experience while grappling with an idea: to taste the joy of learning, and even to have an epiphany that derives from the effort. This is the heady part of research and writing. Perhaps it is also the crux of creativity!

Jan Davidszoon de Heem: Student in His Study, 1628. Ashmolean Museum, Oxford.

We at Fogelson Library believe in the importance of having this experience. We have been grappling with an idea ourselves here at SFUAD. Our idea’s premise is that the library exists to support student research, and we grappled with ways to encourage good research skills. What better way to support you, the student, than by acknowledging your successes? This is a bit of an experiment, as we have never done this before; we’ll see where it takes us. Here is our idea, in all its naked newness:

“The Fogelson Library Research Award Committee will acknowledge outstanding achievement in freshman research at Santa Fe University of Art and Design. Evidence of exceptional use of library print and electronic resources and demonstration of a successful research process in a freshman writing class research paper will be acknowledged with a $200 cash prize. The prize money is generously provided by the Friends of the Fogelson Library.”

Are you learning how to do research? What are you doing with the research? Are you mastering the art of academic writing? Enter our research award competition and let us see what you have accomplished. Submit your paper by December 16 to Margaret Van Dyk at Fogelson Library.

For full guidelines and more information click here.

Students doing research. Watson Library, Columbia Business School. Photo: David Lerman

Check it out. Consider our idea. Have the experience.
http://csf.campusguides.com/researchaward

Thank you, Friends of Fogelson!

WILDLIFE vs. WILD LIFE

2011-11-02T12:28:00.001-06:00

Now that Halloween is over and you are recovered from the wild parties, it is time for WILDLIFE!

Please join us Monday afternoon, November 7, from 2:30-4 for a visit and informal presentation by THE WILDLIFE CENTER.

The Wildlife Center, founded in 1986 by veterinarian Kathleen Ramsay, is a rehabilitation hospital for injured wild animals. The center is located about twenty miles north of Santa Fe. TWC has been granted permission from the United States Fish and Wildlife Service to keep some unreleasable animals for educational purposes, and a few of them will visit us here at Fogelson Library. These two photos are from the program they did for us in Novemer 2010:

Here are some photos of the Education Animals that reside at The Wildlife Center.


Alice, a Cooper's Hawk


Mahoo, one of the orphaned Burrowing Owls

Sol, Turkey Vulture, came to the center as a fledgling with his nest mate. At maturity they were released, but Sol kept returning to the center. Eventually he became a permanent resident.

Che, a Chihuahuan Raven

Max, the Bald Eagle, came with a broken wing and foot from gunshot wounds. One of his talons had to be amputated.

Pippin is a Peregrine Falcon.

This is Akaiko, an Eastern Screech Owl, not too happy about having to be awake on a sunny afternoon.

The animals that will be at the Fogelson Library program will depend on which of the volunteer handlers are able to come that day. The birds, reptiles and mammals who come for presentations have been around humans for years and are trained "professional" educators, experienced at educational programs given by the Wildlife Center at their facility as well as off site.

Bring your sketch pad and camera. It is a wonderful opportunity to practice drawing and photographing wild animals!

For more information about The Wildlife Center, visit their website at TheWildlifeCenter.org. Become a fan on Facebook at facebook.com/The-Wildlife-Center, or just take a peek at the photos they have posted since this spring: in addition to the hundreds of birds they helped this season, you'll see photos of beaver, deer, coyote, bats, and loads of bears.

Don't forget to come on Monday afternoon...
Tell your friends and classmates!

LIBRARY PHOTOGRAPH PROJECT

2011-10-23T13:56:00.001-06:00

Come in this week to participate in the Fogelson Library Photo Project.

The project's main component will be your photos taken with our film cameras.

This week check out one of our one-use film cameras. We will ask you to take four pictures:

1. a picture of yourself (taken by a friend or by a staff member).

2. a shot that would represent the library to a new student.

3. your favorite part of the library

4. something you find frustrating about the library.

That's all there is to it! It's fun and easy.


???

After the photos are developed, we will display them for everyone to enjoy. Look for the results in late November.

CONTEMPORARY COMICS

2011-10-18T15:56:00.006-06:00

Blake & Mortimer mural painting, by Edgar P. Jacobs. Location: Rue de Houblon 24 (Hopstraat 24), Brussels. It can be observed from the square Jacques Brel. Surface: ±104 m². Realisation: Oreopoulos G. and Vandegeerde D. Year: May-June 2005.
Comment: Blake and Mortimer is a Belgian comics series created by the Belgian writer and comics artist Edgar P. Jacobs. In the mural painting Blake and Mortimer are standing in front of a wall with the famous yellow signal which causes panic in the streets of London.
Thank you wikimedia commons: http://commons.wikimedia.org/wiki/File:Comic_wall_Blake_%26_Mortimer_2._Edgar_P._Jacobs._Brussels.jpg

Join us Thursday, October 27 for

FOGELSON LIBRARY'S FIRST ANNUAL

SYMPOSIUM ON THE STATE OF

CONTEMPORARY COMICS

Comic books have come a long way. Join the discussion on their evolution with

New Mexico artist and writer

ANDY KUHN

Other panel members:

Bram Meehan

Courtney Angermeier

Jeff Benham

members of Albuquerque's 7000BC Comics

Artists will sell and sign their work after the discussion.

October 27, 7 to 9 PM

in The Forum at SFUAD

Sponsored by: