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- date: 1970s
Your search found 2,021 result(s).
-
Santa Clara track singlet used by Tommie Smith
- Manufactured by
- Russell Athletics, American, founded 1902
- Worn by
- Smith, Tommie, American, born 1944
- Subject of
- Santa Clara Valley Youth Village, American, founded 1944
- Date
- ca. 1965
- Medium
- synthetic fiber
- Dimensions
- H x W: 29 × 17 3/4 in. (73.7 × 45.1 cm)
- Description
- A Santa Clara track singlet.
- A golden yellow sleeveless shirt. The two sides have a rounded slit at the bottom. There are green letters sewn onto the front. They read [SANTA CLARA]. There is a white manufacturer's label inside the singlet at the neck. It reads [Russell / Southern / Co.] in red with a black "L".
- The shirt has several spots, stains, and areas of discoloration. There are also a few loose threads on the bottom of the shirt.
- Place used
- Santa Clara, California, United States, North and Central America
- Classification
- Clothing-Historical
- Type
- sports uniforms
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Tommie and Delois Smith
- Object number
- 2016.110.4
- Restrictions & Rights
- No Known Copyright Restrictions
-
Digital image of Eddie Faye Gates with Don Ross holding a campaign sticker
- Photograph by
- Unidentified
- Subject of
- Gates, Eddie Faye
- Ross, Don, American, born 1941
- Owned by
- Gates, Eddie Faye
- Date
- ca. 1982
- Medium
- digital
- Dimensions
- H x W: 2161pixels × 2558pixels
- Description
- A digital image of a color photograph of Eddie Faye Gates with Don Ross. They are holding a campaign sticker that says “DON ROSS / STATE REPRESENTATIVE.” Eddie Faye Gates is wearing a blue shirt and holding it with her right hand. Don Ross is wearing a white shirt with a black jacket and is holding the sticker with his left hand. The two are standing in a room with a bookcase. There is no image of the back of the photograph.
- Place depicted
- Tulsa, Tulsa County, Oklahoma, United States, North and Central America
- Collection title
- Eddie Faye Gates Collection, Tulsa, Oklahoma
- Classification
- Media Arts-Photography
- Type
- portraits
- digital images
- digital media - born analog
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist
- Object number
- 2014.117.3
- Restrictions & Rights
- No Known Copyright Restrictions
-
Profile of a Race Riot
- Published by
- Oklahoma Impact Magazine, American
- Edited by
- Ross, Don, American, born 1941
- Written by
- Ed Wheeler
- Date
- 1971
- Medium
- ink on paper
- Dimensions
- H x W (Closed): 11 × 8 1/2 in. (27.9 × 21.6 cm)
- H x W (Open Flat): 11 × 17 1/16 in. (27.9 × 43.3 cm)
- Description
- A magazine insert from Oklahoma Impact Magazine with a story by Ed Wheeler about the Tulsa Race Massacre, published on the occassion of the fiftieth anniversary of the event.
- Place depicted
- Tulsa, Tulsa County, Oklahoma, United States, North and Central America
- Classification
- Documents and Published Materials-Published Works
- Type
- publications
- Topic
- American South
- American West
- Race relations
- Race riots
- Tulsa Race Massacre
- U.S. History, 1919-1933
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
- Object number
- 2011.60.18
- Restrictions & Rights
- Unknown - Restrictions Possible
-
CC0
Young Lords Party: Health, Food, Housing, Education
- Created by
- Young Lords Party, American, founded 1969
- Designed by
- Unidentified
- Date
- ca. 1971
- Medium
- ink on paper
- Dimensions
- H x W: 28 × 17 3/4 in. (71.1 × 45.1 cm)
- Description
- A Young Lords Party poster. The poster has a black background with white text and a graphic of four purple automatic rifles. Across the top center of the poster, white text reads: [Young Lords Party]. Below the text, the four purple automatic rifles are pictured in a vertical stack. The rifles are oriented horizontally and each rifle has text, in white, across the forestock reading [Health] on the top rifle, [Food] on the second, [Housing] on the third, and [Education] on the bottom. The word [Struggle] is featured in gray text on the magazine of each rifle. In the top right corner of the poster is a logo for the Young Lords Party. The logo is a circle with the Puerto Rican flag in the background and an automatic rifle at center. The letters [YLP] are across the bottom of the logo. The back of the poster is blank.
- Place printed
- New York City, New York, United States, North and Central America
- Cultural Place
- Puerto Rico, United States, Caribbean, Latin America, North and Central America
- Classification
- Memorabilia and Ephemera-Political and Activist Ephemera
- Movement
- Young Lords Movement
- Type
- political posters
- Topic
- Activism
- Communities
- Education
- Graphic design
- Health
- Housing
- Identity
- Political organizations
- Resistance
- Social reform
- U.S. History, 1969-2001
- Urban life
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture purchased with funds provided by the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
- Object number
- 2018.35.3
- Restrictions & Rights
- Public domain
-
America Free Angela
- Created by
- Ringgold, Faith, American, born 1930
- Subject of
- Black Panther Party, American, 1966 - 1982
- Angela Y. Davis, American, born 1944
- Date
- 1971
- Medium
- lithographic ink on cardboard with mat board
- Dimensions
- H x W (w/ mat border): 33 1/2 × 24 9/16 × 1/16 in. (85.1 × 62.4 × 0.2 cm)
- H x W (w/out mat border): 28 7/16 × 19 1/2 in. (72.2 × 49.5 cm)
- Description
- A print by Faith Ringgold with a tessellating pattern of red and blue triangles. Each triangle is composed of a word: FREE, ANGELA, or AMERICA in red, blue or grey text. The pattern forms squares reading alternating "Free Angela" and "Free America". In the bottom left corner, handwritten in black ink is [6/71] over [RINGGOLD]. The print is adhered to a white mat.
- Place made
- New York City, New York County, New York, United States, North and Central America
- Classification
- Visual Arts
- Movement
- BAM (Black Arts Movement 1965-1976)
- Type
- prints
- Topic
- Justice
- Politics
- Race relations
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.72.1
- Restrictions & Rights
- © Faith Ringgold 1971
-
Norma Merrick Sklarek Archival Collection
- smithsonian online virtual archive
- Record
- Creator
- Sklarek, Norma Merrick, 1926-2012
- name
- American Institute of Architects
- Pelli, Cesar
- Gruen, Victor, 1903-1980
- Gruen Associates
- Siegel, Margot
- Schwartz, Robert (Robert E.)
- Diamond, Katherine
- Sklarek, Rolf
- Hutchinson, Louise Daniel
- Davis, Carolyn Armenta, 1944-
- Grant, Bradford C.
- Williams, Paul R., 1894-1980
- Harney, Henrietta
- Washington, Roberta
- Covington, Garnett K.
- Donaphin, Alexa Barnes
- Tyler, Kathryn B.
- Sutton, Sharon E., 1941-
- Love-Stanley, Ivenue
- LeGendre, Laurette
- Hermanuz, Ghislaine
- Mills, Marlene E.
- Moseley-Olaleye, Joyce
- Hinton-Lee, W. Chris
- deJongh, Donna
- inclusive dates
- 1944-2008
- Physical description
- 4.8 Cubic feet
- Scope and Contents
- The Norma Merrick Sklarek Archival Collection documents the prestigious and groundbreaking career of one of the early women architects who also broke ground for African American architects as well. The collection highlights Sklarek's journey and accomplishments as she paved the way for future women architects and architects of color. The collection is comprised of family records, resumes, business ephemera, photographs, correspondence, publications, clippings, architectural drawings, as well as her many awards and accolades.
- Conditions Governing Access
- Collection is open for research. Access to collection materials requires an appointment.
- Preferred Citation
- Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
- Biographical / Historical
- Norma Merrick Sklarek was a renowned architect and a woman of firsts who broke racial and gender barriers earning her place in the male-dominated world of architecture. She was the first Black woman member and esteemed fellow of the highly respected architectural professional organization, American Institute of Architects (AIA). Norma was distinguished in her career for leading challenging assignments and managing large, complex construction projects.
- Norma Merrick was born April 15, 1926 to Dr. Walter Ernest Merrick, and Amelia (Amy) Willoughby in Harlem, New York City, New York. Her parents had emigrated from Trinidad, though her father was born in St. Vincent, West Indies. Norma's parents were a part of the first significant Caribbean immigration waves to the United States in the early 20th century. Arriving just a year before her birth, her parents saw possibility and education there. Her father, Walter attended Howard University and eventually became a physician. While her mother, Amy worked as a seamstress in a factory to make ends meet as Walter "wasn't much of a businessman" as described by Norma in an oral history interview. He practiced medicine in Harlem, New York. Norma stated that her father often served as a physician to African American celebrities such as Hazel Scott, Ethel Waters and Art Tatum. Walter was also a talented musician and carpenter that supported his daughter's love of art and math and encouraged her to pursue a career in architecture.
- Around 1940, Norma was enrolled at the prestigious Hunter College High School for the intellectually gifted and "Ivy League-bound" young women. Excelling academically, Norma attended Barnard University, the prestigious women's college formerly administered by Columbia University. She attended Barnard initially in order to gain a year of a liberal arts education so that she could be accepted into then-known Columbia University School of Architecture. In 1947, she met and married, Dumas Flagg Ransom, law student at nearby Wagner University. She subsequently gave birth to her first son, Gregory Merrick Ransom shortly thereafter. She graduated from Columbia in 1950 with a Bachelor of Architecture (B.Arch.) degree. She was one of only two women and the only African American in her graduating class.
- Despite her Columbia University pedigree, her race and gender made it predictably difficult to obtain employment. Norma easily recalls in an oral history interview later in life that she was turned down by nineteen prospective employers. It was on the twentieth interview with the Department of Public Works (DPW) that she was hired as a junior draftsperson for New York City. She passed her architecture licensing examination in 1954 becoming the first Black woman believed to be licensed to practice architecture in New York. Despite a poor recommendation from her DPW supervisor, she worked briefly at Katz, Waisman, Blumenkranz, Stein and Weber as a junior associate. She felt stifled and unchallenged and left that firm to do some rendering coloring work with notable New York architect, Bob Schwartz. In 1955, she started working at notable architectural firm, Skidmore, Owings, and Merrill (SOM) in New York City where she was given larger-scale projects. At the same time, she taught architecture courses at New York City Community College (presently called the New York City College of Technology) located in Brooklyn, NY. She was the school's first woman faculty member. It was also during her tenure at SOM that Norma joined AIA and inadvertently became the organization's first African American woman member. She was a member of the Council for the Advancement of the Negro in Architecture, a New York-based group. During all this groundbreaking work, Norma was a twice-divorced mother of two sons with the birth of her second son, David Merrick Fairweather from her union with Benjamin Fairweather. Norma depended on the assistance of her family in raising her sons while she worked and advanced her career.
- In an effort to advance her career, Norma moved to Los Angeles, California to work with architectural firm, Gruen Associates in 1960. A requisite for an architect in California, Norma became the first Black woman to be a licensed architect in the state. Gruen Associates, founded by visionary Austrian architect Victor Gruen, was notable for their pioneering work with shopping malls and multi-use buildings. At Gruen, in 1965 she earned the director of architecture position where she was responsible for hiring and overseeing multiple staff members as well as serving as project manager on several high-profile projects for the firm.
- Her projects included the high-rise multi-use building California Mart (1963), now known as California Market Center; skyscraper Fox Plaza (1966) in San Francisco and some of Norma's most notable work for Gruen, The Pacific Design Center (1975), a multi-use facility utilized by the California's bustling apparel and fashion industry. Norma's contributary design is affectionately known by California's locals as the "Blue Whale." Norma worked on the latter project with Gruen's lead architect at the time, Cesar Pelli, known for some of the world's tallest buildings, most notably World Finance Center (Brookfield Place) in New York City. Pelli also shared his credit with Norma for her exemplary contribution to the renovation and redesign of the San Bernardino City Hall (1972) in California as well as their work on the U.S. Embassy (1976) in Tokyo, Japan. While at Gruen, Norma married Rolf Sklarek, a fellow architect at the firm. She also taught architecture courses at the University of California Los Angeles (UCLA) and the University of Southern California (USC). At UCLA, she was the first African American member of the faculty.
- In 1980, she was finally recognized for all of her trailblazing and innovative work, when she became the first African American woman elected to the AIA College of Fellows. The highest honor within the architecture profession. This prestigious award gave her assurance that she could take her career to another level. She departed Gruen for Welton Becket & Associates, a prominent California firm renowned for iconic music and cultural centers, including the iconic Capitol Records building in Los Angeles. Norma was appointed as the vice president of the firm and lead project manager on one of her most notable works, Terminal One at the Los Angeles International Airport. She was recognized for the timely completion of the project as preparation for the influx of travelers to Los Angeles the for the 1984 Olympic Games. Norma also suffered the loss of her husband, Rolf Sklarek, the same year.
- It was her work from the Los Angeles Airport project that empowered Norma to break yet another barrier. 1985 proved to be significant year as she became first African American woman to found and co-own a woman-owned architectural firm. Norma collaborated with fellow veteran architects Margot Siegal and Katherine Diamond to create Siegel-Sklarek-Diamond (SSD). SSD was one of the largest woman-owned architecture firms at the time. Their largest project was the Tarzana Promenade, a 90,000 sq. ft. medical and retail center, and the remodel and renovation of the Lawndale Civic Center; both located in California. Norma also designed work for the proposed Marva Collins Preparatory School in Compton, CA. The school was named after seminal educator, Marva Collins that had revolutionized education for low-income students in a crime-ridden area in Chicago, Ill. The hope was the replicate Collins' important work for children in Compton.
- Being a new firm amidst the prevalence of racism and sexism within the profession left SSD at a disadvantage. Their projects were mainly residential and smaller commercial projects that didn't bring the income and accompanying challenges like larger scaled projects. Sklarek left SSD in 1989 for Jerde Partnership, an established innovator in the design and construction of shopping malls around the world. Norma was hired as the principal on the project management for the design and construction of the Mall of America. Located in Bloomington, Minnesota, it is considered to be the largest shopping mall in United States.
- In 1992, Norma retired from the profession but did not resign herself to stop working. Norma became an active advocate in broadening the profession to include more women and people of color. She focused her work on teaching, lecturing, and mentoring. Over the years, she served as faculty and lecturer at several universities including UCLA, USC, University of Iowa, Kansas State University, California Polytechnic as well as her alma mater Columbia University. In an effort to inspire Black architects, Norma regularly lectured at HBCUs including Howard University, Hampton University, Tuskegee University, and Southern University.
- Sklarek's work was recorded and recognized by the black press and publishers, such as her being included in Ebony magazine as early as 1958, in their article on "Successful Young Architects." In 2008, the AIA awarded her with the Whitney M. Young, Jr. Award that recognizes architects who represented the profession's responsibility to address social issues. She also served on multiple professional boards and committees, such as the California Architects Board, Professional Qualifications Committee, California State Board of Architectural Examiners, the AIA National Ethics Council and many more.
- On February 6, 2012, Sklarek died in the Pacific Palisades, California at the age of 85. She was survived by her husband Cornelius Welch, whom she married in 1985; her son, David Merrick Fairweather, stepdaughter Susan Welch as well as three grandchildren. She was predeceased by her son Gregory Merrick Ransom in 2006.
- Historical Timeline: 1926: Norma Merrick was born to Amy Willoughby and Walter Merrick in Harlem, New York. ; 1944: Graduated from Hunter College High School, New York, NY; 1944-1945: Attended Barnard College, New York, NY ; 1945-1950: Attended Columbia University in New York City earning a bachelor's degree in architecture (B.Arch.).; 1947: Married Dumas Flagg Ransom and had son, Gregory Merrick Ransom. They later divorced.; 1950: Married Elwyn (Benjamin) Fairweather and had son, David Merrick Fairweather. They later divorced.; 1950-1955: Worked at the Department of Public Works, New York, NY; 1954: Licensed in the state of New York; believed to be the first black woman architect licensed in New York; 1959: First African American woman member of the American Institute of Architects (AIA). ; 1955-1960: Worked at Skidmore, Owings, and Merrill in New York, NY ; 1957-1960: Architecture faculty member at New York City Community College, Brooklyn, NY ; 1960: Married Francis "Harry" Pena in New York, NY., Moved to California and began working at Gruen Associates and served as the Director of Architecture until 1980. ; 1962: First African American woman architect licensed in California ; 1963: Sklarek coordinated the design and construction of the California Mart, Los Angeles, CA.; 1966: Sklarek coordinated the design and construction Fox Plaza in San Francisco, CA.; 1967: Sklarek divorced Pena and married Rolf Sklarek, a fellow architect at Gruen Associates.; 1970: Sklarek coordinated the design and construction of the Park Center Commercial Complex in San Jose, CA .; 1972-1973: Sklarek coordinated the design and construction of the San Bernardino, City Hall in San Bernardino, CA.; 1973: Sklarek coordinated the design and construction of Commons-Courthouse Center in Columbus, IN.; 1973-1978: Served as faculty member in the UCLA School of Architecture and Urban Planning; 1976: Sklarek coordinated the design and construction of the U. S. Embassy in Tokyo, Japan.; 1978: Sklarek coordinated the design and construction of Pacific Design Center in Los Angeles, CA.; 1980: First African American woman fellow of the AIA ; 1980-1985: Worked as VP and project manager at Welton Becket & Associates in Santa Monica, CA; 1984: Sklarek working with Welton Becket Associates coordinated the design and construction of Terminal One at the Los Angeles International Airport, Los Angeles, CA., Rolf Sklarek died in February. ; 1985: Sklarek along with Margot Siegal and Katherine Diamond formed their own firm, Siegel- Sklarek-Diamond. , Sklarek married Dr. Cornelius Welch. ; 1989: Left the Siegel-Sklarek-Diamond and joined The Jerde Partnership, in Venice, CA, as the principal project manager. ; 1989-1992: Sklarek coordinated the design and construction of the Mall of America in Minneapolis, MN. ; 1992: Retired from The Jerde Partnership; 2003-2007: Served as commissioner on the California State Board of Architectural Examiners ; 2008: Awarded American Institute of Architects' Whitney M. Young Jr. Award ; 2012: Norma Merrick Sklarek died in the Pacific Palisades, California at the age of 85.
- object type
- Archival materials
- topic
- Architecture
- Photographs
- Business
- Design
- Women
- Japan -- Tokyo
- Entrepreneurship
- African diaspora
- Education
- Gender
- Identity
-
Arty (Centerpiece)
- Created by
- Stevens, Nelson, American, born 1938
- Subject of
- Turner Crawford, Arlene, American
- AfriCOBRA, founded 1968
- Date
- 1970
- On ViewCulture/Fourth Floor, 4 052
- Exhibition
- Visual Art and the American Experience
- Medium
- acrylic paint on canvas
- Dimensions
- H x W x D: 50 × 50 × 2 in. (127 × 127 × 5.1 cm)
- Description
- This is an abstract acrylic painting depicting a woman from the neck up. Done in a color palette of red, orange, blue, and purple, the woman's form is made up of clusters of rounded and abstract pools of color. Viewed slightly from below, she faces forward and gazes upward.
- Classification
- Visual Arts
- Movement
- BAM (Black Arts Movement 1965-1976)
- Type
- acrylic paintings
- portraits
- Topic
- Activism
- Art
- Identity
- Professional organizations
- Religion
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2016.73
- Restrictions & Rights
- © Nelson Stevens
-
Baptizing with Lady in Orange Dress
- Attributed to
- Hunter, Clementine, American, ca. 1886 - 1988
- Subject of
- Melrose Plantation, American, founded 1832
- Date
- 1960s
- Medium
- oil paint on fiberboard
- Dimensions
- H x W x D (painting): 16 × 24 × 1/4 in. (40.6 × 61 × 0.6 cm)
- H x W (framed): 22 × 33 1/2 in. (55.9 × 85.1 cm)
- Caption
- Hunter had no formal art training and only began painting in her fifties. She spent most of her life on the Melrose Plantation in Louisiana, picking cotton and collecting pecans. Later she worked inside, cleaning houses and washing clothes. Once she did begin painting, she was quite prolific. It is believed that she produced several thousand works
- Description
- An oil painting depicting a scene of pastoral life in Louisiana. A white church with green-trimmed doors and windows is featured prominently in the center of the canvas. The area behind the church is interspersed with trees, and the sky behind the church and trees is a variegation of blue, white and rose colors in broad, horizontal brushstrokes. A procession of figures walk along a prominent diagonal line leading from the church steps to the lower left-hand corner of the painting. At the head of the procession are two figures in black robes, wearing black head coverings and white collars. Behind them are five smaller figures dressed in white dresses and veils. Under the church and the procession of figures is a broad line of brown paint, separating this scene from another scene in the lower right-hand corner. In the lower scene, a woman is featured prominently at lower-center, wearing a vivid orange dress and a black hat with flowers. She is kneeling, hands clasped, next to a body of water. Two figures in black robes and head coverings and white collars are shown waist-deep in the water, holding between them a person wearing a white dress and veil. The painting is signed "CH" (but with the "C" reversed) at the bottom right, above the figures in the water.
- Place depicted
- Natchitoches Parish, Louisiana, United States, North and Central America
- Classification
- Visual Arts
- Type
- oil paintings
- Topic
- American South
- Art
- Religion
- Rural life
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Rand and Dana Jack family, in honor of Rand's grandmother, Blythe Rand, who early recognized and supported the special talents of Clementine Hunter
- Object number
- 2014.176.5
- Restrictions & Rights
- © Cane River Art Corporation
-
Photographic slide of Audre Lorde speaking at the Third World Gay Conference
- Photograph by
- Dr. Simmons, Ron, American, 1950 - 2020
- Subject of
- Lorde, Audre, American, 1934 - 1992
- Date
- ca. 1979
- Medium
- reversal film and plastic
- Dimensions
- H x W: 2 × 2 in. (5.1 × 5.1 cm)
- Description
- A color photographic slide depicting author and activist Audre Lorde speaking at the first Third World Gay Conference in Washington, DC. Lorde stands at a podium speaking into a microphone. She is only visible from the chest up and her head is wrapped in a blue and green head wrap. She also wears a black, brown and orange garment with gold embroidery along the neckline. The front of the white encasement that houses the slide film is inscribed with [NOV 79 R3] and [MADE IN U.S.A.]. The back of the encasement reads [Ektachrome SLIDE] and [PROCESSED BY Kodak].
- Place depicted
- Washington, District of Columbia, United States, North and Central America
- Collection title
- The Ron Simmons Photography Collection
- Classification
- Media Arts-Photography
- Archival Collections
- Type
- color slides
- Topic
- Activism
- Civil rights
- Identity
- LGBTQ
- Oratory
- Sexuality
- U.S. History, 1969-2001
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Ron Simmons
- Object number
- TA2019.38.1.1.1.11
- Restrictions & Rights
- © Ron Simmons
-
Photographic slide of the first March on Washington for Lesbian and Gay Rights
- Photograph by
- Dr. Simmons, Ron, American, 1950 - 2020
- Subject of
- Comité Homosexual Latinoamericano, American, founded 1972
- Date
- October 14, 1979
- Medium
- reversal film and plastic
- Dimensions
- H x W: 2 × 2 in. (5.1 × 5.1 cm)
- Caption
- The first National March on Washington for Lesbian and Gay Rights took place on October 14, 1979 in response to Reagan's imminent presidency, LGBTQ intolerance, and the recent assassination of Californian politician Harvey Milk. The march began at the Capitol and terminated at the Washington Monument. Comite Homosexual Latinoamericano (COHLA) was founded in New York in 1972. COHLA member Juanita Ramos served on both the national planning committee and the New York committee and was a speaker for the 1979 March on Washington for Lesbian and Gay Rights. The planning committees voted to have lesbians of color lead the march, followed by men of color.
- Description
- A color photographic slide depicting demonstrators standing by a "Comité Homosexual Latinoamericano" banner during the first National March on Washington for Lesbian and Gay Rights. In the center of the image, a yellow banner with the words [COMITE HOMOSEXUAL LATINOAMERICANO] occupies the foreground and sea of marchers can be seen in the background, standing in front of the Monument. One of the individuals holding the banner wears a blue t-shirt and a black jacket, pinned to the jacket is a yellow circular button with [GAY POWER] written on it. Another person stands in front of the banner wearing a brown vest and pants and a beige and brown striped overcoat. The white encasement that houses the slide film reads [NOV 79 R3] on the front. On the back is a yellow and orange Kodak logo and the words [Ektachrome SLIDE] printed in blue ink.
- Place depicted
- Washington, District of Columbia, United States, North and Central America
- Collection title
- The Ron Simmons Photography Collection
- Classification
- Media Arts-Photography
- Archival Collections
- Type
- color slides
- Topic
- Activism
- Civil rights
- Identity
- LGBTQ
- Sexuality
- U.S. History, 1969-2001
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Ron Simmons
- Object number
- TA2019.38.1.1.1.7
- Restrictions & Rights
- © Ron Simmons
-
Photograph of Norma Merrick Sklarek and Mayor Tom Bradley
- Photograph by
- Unidentified
- Subject of
- Sklarek, Norma Merrick, American, 1926 - 2012
- Bradley, Tom, American, 1917 - 1998
- Unidentified Man or Men
- Unidentified Woman or Women
- Owned by
- Sklarek, Norma Merrick, American, 1926 - 2012
- Date
- ca. 1984
- Medium
- dye and photographic gelatin on photographic paper
- Dimensions
- H x W: 4 × 6 in. (10.2 × 15.2 cm)
- Description
- A color photograph of Norma Sklarek with Los Angeles mayor Tom Bradley. Sklarek, Bradley, and an unidentified man are in the center of the image. There are unidentified people standing in the background. Sklarek, on the left side, is in profile and wearing a blue top with various patches. Bradley is in the center, facing toward Sklarek. He is wearing a suit, striped tie, and white pinback button reading [NOBODY SERVES REPUBLIC LIKE REPUBLIC EMPLOYEES]. An unidentified man wearing a LAX badge and a plaid shirt is looking at the camera. The reverse has a back print for [FUJICOLOR / PAPER].
- Place depicted
- Los Angeles, California, United States, North and Central America
- Classification
- Media Arts-Photography
- Archival Collections
- Type
- chromogenic color prints
- Topic
- Architecture
- Photography
- Politics
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of David Merrick Fairweather and Yvonne Goff
- Object number
- TA2018.23.5.1.1.4
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Cardigan and skirt ensemble by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber , polyurethane and plastic with rhinestone
- Dimensions
- H x W (cardigan): 26 3/4 × 19 9/16 in. (68 × 49.7 cm)
- H x W (skirt): 23 7/16 × 13 3/16 in. (59.5 × 33.5 cm)
- Description
- This is a royal blue two-piece knit dress ensemble that consists of a cardigan top and a pull-on skirt with an elastic waist. The cardigan is made in a blue-on-blue knit pattern that has repeating stylized mushrooms. The neckline has a roll collar with a crocheted edge that is an extension from the crocheted border of the cardigan hem. The cardigan also has long blouson sleeves with knit cuffs and is fastened up the front with three diamond-shaped blue plastic buttons inset with clear rhinestones. There is a black fabric tag with red text at the inside of the back of the collar that reads "GENE BAILEY." There are attached shoulder pads in the shoulders. The skirt is in a matching blue color with an elasticized waistband. The skirt is mid-length and slightly A-line with a deep hem. There is a white fabric tag with black text inside the center back waistband that reads "GENE BAILEY."
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- skirts
- cardigans
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.1.1-.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
A-line sleeveless dress with lace cap sleeves by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber and polyurethane
- Dimensions
- H x W: 42 11/16 × 20 1/16 in. (108.4 × 51 cm)
- Description
- This is a pale blue A-line knit dress with cap sleeves. The cap sleeves are done in a zig-zag crochet pattern in the same blue yarn as the body of the dress. It has a V-neckline edged in crochet. There is a white fabric tag with black text on the inside of the neckline that reads “GENE BAILEY.” There are attached shoulder pads in the shoulders. The dress flares outwards from the waist in a wide A-line. Along the bottom hem is a repeating pattern of mushroom clusters in a darker blue.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- dresses by form
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.10
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Two-piece dress blouson sweater top and a matching long skirt by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber
- Dimensions
- H x W (sweater): 23 13/16 × 21 1/4 in. (60.5 × 54 cm)
- H x W (skirt): 29 3/4 × 11 1/4 in. (75.6 × 28.5 cm)
- Description
- This is an aqua blue two-piece dress consisting of a blouson sweater top and a matching long skirt. The sweater has open-work crochet patterns at the top of each sleeve. The sleeves end in cuffs crocheted in a diamond pattern. The sweater has a V-neckline with ribbed edging, and a gathered elasticized waist with a ribbed waistband. The calf-length, gathered drop-waist skirt has a wide elasticized waist made up of a band of knit ribbing. The skirt also has the same open-work pattern at the hem as the sleeve, running up the skirt in vertical rows.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- sweaters
- skirts
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.11.1-.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Cinch-hip dress with blouson top and peasant neckline by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber
- Dimensions
- H x W: 49 1/4 × 19 11/16 in. (125.1 × 50 cm)
- Description
- This is a pink knit cinch-hip dress with a blouson top and peasant neckline. The dress top has a gathered neckline with a matching pink drawstring threaded through the gathers. There is a small V-shaped opening at the front of the neckline where the drawstring is tied into a bow. The top has blouson sleeves gathered at the neckline and the cuff. The cuffs are striped in blue and pink rings around the wrist. The same blue and pink stripes run horizontally around the waist, which consists of a wide band of elasticized knit. This cinched-in waist causes the top of the dress to blouse outward over the waistband. The striped waistband transitions into a calf-length A-line skirt with multiple gathers at the waist. Scattered at intervals across the pink skirt are clusters of stylized blue mushrooms.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- dresses
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Sleeveless off-white knit dress by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber
- Dimensions
- H x W: 44 1/2 × 15 1/4 in. (113 × 38.7 cm)
- Description
- This is an A-line sleeveless off-white knit dress. It has a V-neckline with ribbed edging. Its sleeveless armholes are edges with crochet. There is no visible waistline seam. The skirt is mad-calf length and flairs outwards as it nears the hem. The hem is also edged with crochet.
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- dresses
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.5
- Restrictions & Rights
- Public domain
-
A-line knit dress with crochet cap sleeve by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber
- Dimensions
- H x W: 44 × 20 7/8 in. (111.8 × 53 cm)
- Description
- This is a red A-line knit dress with crocheted cap sleeves. It has a V-neckline edged in crochet with small red knots at regular intervals. The sleeves are cap sleeves made in an open loop crochet pattern. The dress is mid-calf length, with a wide flaring A-line skirt. There is a white fabric tag attached to the inside of the back of the neck. It has black text that reads "GENE BAILEY."
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- dresses by form
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.7
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Two piece ensemble with multiple threads of green, pink and black by Gene Bailey
- Designed by
- Bailey, Gene, American, 1945 - 1995
- Date
- 1970-1995
- Medium
- synthetic fiber, polyurethane and wood
- Dimensions
- H x W (cardigan): 26 3/8 × 18 7/8 in. (67 × 48 cm)
- H x W (skirt): 31 1/8 × 11 7/16 in. (79 × 29 cm)
- Description
- This is a two piece knit ensemble consisting of a cardigan and a skirt. The ensemble is knit with multiple threads of green, pink and black, creating a marled effect. The cardigan also has rows of vertical black crochet stripes three inches apart, as well as a stripe of this crochet around the neckline. The cardigan has a round neckline and is fastened up the front with six black wood buttons. There is also a metal snap at the bottom of cardigan. The cardigan has a matching drawstring through the bottom hem. It is long sleeved with the sleeves terminating in narrow cuffs. On the inside of the collar there is a white fabric tag with black text that reads “GENE BAILEY.” There are attached shoulder pads in the shoulders. The matching calf-length A-line skirt has a drop waist consisting of a wide yoke of elasticized knit. The skirt has a pattern of raised ridges running vertically the length of the skirt. Inside the back of the waistband is a white tag with black text that reads "GENE BAILEY."
- Place collected
- Washington, District of Columbia, United States, North and Central America
- Collection title
- Gene Bailey Archive and Knitwear Collection
- Classification
- Clothing-Fashion
- Type
- skirts
- cardigans
- Topic
- Clothing and dress
- Fashion
- Fashion design
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Omega C. Logan Silva, MD, MACP
- Object number
- A2018.88.1.9.1-.2
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Liberian Order of African Redemption badge awarded to William Beverly Carter
- Issued by
- Republic of Liberia, Liberian, founded 1848
- Received by
- Carter, William Beverly Jr., American, 1921 - 1982
- Subject of
- President Tolbert, William, Liberian, 1913 - 1980
- Date
- ca. 1977
- Medium
- enamel on metal
- Dimensions
- H x W x D: 4 15/16 × 2 3/8 × 3/8 in. (12.6 × 6 × 0.9 cm)
- Description
- The Liberian Order of African Redemption Grand Commander badge awarded to Ambassador William Beverly Carter, Jr. by Liberian President William Richard Tolbert Jr. It is a two (2) piece, double-sided pendant medal; a five-pointed star suspended from a wreath. It is constructed from metal and detailed in gilt and enamel. The main body of the medal is a five-pointed star, with each point covered in white enamel and terminating with a gilt ball. Golden rays extend from between the arms. At the center of the star, on the obverse, there is a roundel with two (2) figures with broken chains at their feet, kneeling at the base of a cross bearing the letters [INRI]. The figures, a male and a female, are depicted in profile facing the cross. The male’s hands are held up in a prayer pose, while the female’s proper left hand rests on the cross. The roundel is framed by a green and red enameled wreath of laurels and berries. In the roundel on the reverse, is a variation of the coat of arms of Liberia: a three-mast ship with its sails raised, approaching land. On the left is a sun setting on the horizon and on the right is a palm tree. Sitting on the shore, in the foreground, is a plough. Above the ship, is a bird holding a document in its beak. The rondel is encircled in a light blue enamel frame with the gilt letters of the motto of the Republic of Liberia, [THE LOVE OF LIBERTY BROUGHT US HERE]. The top of the star is threaded through the bezel of a green and red enameled wreath of laurels and berries. A lobster claw clasp and two (2) jump rings are attached to the top of the wreath.
- Place used
- Liberia, West Africa, Africa
- Collection title
- Archive of Ambassador W. Beverly Carter
- Classification
- Awards and Medals
- Type
- commemorative medals
- Topic
- Africa
- Government
- International affairs
- Politics
- U.S. History, 1969-2001
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Ambassador William Beverly Carter, Jr.
- Object number
- A2019.45.1.3.1
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Photographic print of a group of people gathered around a bar
- Photograph by
- Unidentified
- Subject of
- Unidentified Woman or Women
- Unidentified Man or Men
- Date
- ca. 1970
- Medium
- dye on photographic paper
- Dimensions
- H x W (Image): 2 13/16 × 3 11/16 in. (7.1 × 9.4 cm)
- H x W (Sheet): 3 3/8 × 4 1/4 in. (8.6 × 10.8 cm)
- Description
- A color print of a group of people sitting and standing around a bar. The bar is a wood paneled, as is the surrounding walls of the room. There are four women and two men at the bar and a variety of cups and bottles on top of the bar. There is a trophy on the right edge of the bar top near the right edge of the photograph. The back of the photograph has pre-printed fields to fill out with information about the photograph. The fields are not filled out. The text at the top of the back of the photograph reads: [An Original Polaroid Land Photograph].
- Classification
- Media Arts-Photography
- Archival Collections
- Type
- dye diffusion transfer prints
- Topic
- Photography
- Recreation
- Social life and customs
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Waheed Photo Archive
- Object number
- TA2016.130.9
- Restrictions & Rights
- No Known Copyright Restrictions