Illustrated by

Pious, Robert Savon, American, 1908 - 1983

Medium

ink on paper

Dimensions

H x W: 21 7/16 × 13 3/4 in. (54.5 × 35 cm)

Type

posters

Date

1940

Caption

The American Negro Exposition took place at the Chicago Coliseum, July 4 through September 2, 1940. The event recognized two important occasions: the 75th anniversary of the end of the Civil War and the abolition of slavery and the anniversary of the Emancipation Proclamation. Featuring the contributions of African Americans to American life since 1865, the Exposition was considered the first Negro World's Fair and the first time that African Americans had the opportunity to present themselves and their stories to the world.

Description

A poster for the American Negro Exposition at the Chicago Coliseum. The image on the poster is of a male standing behind a female. They have their heads turned to their right and have their arms raised. In their right hands they are holding a book and a gear. In their left hands they are holding a document and a broken chain. The background is a pink mountain-scape with Abraham Lincoln’s face at center with a blue sky and pink clouds. Agricultural tools are at the bottom. Black text at the top center of the poster reads: [AMERICAN NEGRO EXPOSITION.] Brown text at the center of the poster reads: [1865] and [1940.] Blue text on a black background at the bottom of the poster reads: [CHICAGO COLISEUM / JULY 4 TO SEPT. 2.] Small black text at the bottom of the poster reads: [AMERICAN NEGRO EXPOSITION HEADQUARTERS, 3632 SOUTH PARKWAY, CHICAGO.]

Topic

African American

Advertising

Communities

Design

Emancipation

Festivals

United States--History--1933-1945

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture. Gift of Ingrid Rose in Memory of Milton M. Rose

Object number

2015.178

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera-Advertisements

Data Source

National Museum of African American History and Culture

Commissioned by

The Chicago Anthenaeum, American, founded 1988

Subject of

Davis, Carolyn Armenta, American

Owned by

Sklarek, Norma Merrick, American, 1926 - 2012

Medium

ink on paper

Dimensions

H x W: 9 5/16 × 3 1/2 in. (23.7 × 8.9 cm)

Type

brochures

Place used

Chicago, Cook County, Illinois, United States, North and Central America

Date

1993

Description

Brochure for the Design Diaspora exhibition owned by Norma Sklarek. The front and back of the brochure has a black background with a red graphic of Ruggles Street Station in Boston, MA. On the front, white text at the top reads [DESIGN / DIASPORA] with [BLACK ARCHITECTS AND INTERNATIONAL ARCHITECTURE / 1970-1990] in the middle. The center of the brochure reads [AN EXHIBITION OF BUILT PROJECTS / DESIGNED BETWEEN 1970-1990 BY / FIFTY AFRICAN AMERICAN, / BLACK EUROPEAN, / AND AFRICAN ARCHITECTS.] The date, open hours, and location at the Chicago Athenaeum are at the bottom. The brochure expands open and has a summary of the exhibition, daily schedules, and a list of architects. There are highlight images of various buildings from different fields.

White printed text on the back cover reads [Curated by: Carolyn Armenta Davis / Exhibition Design by: Ioannis Karalias / Exhibition Fabrication by: Contempo Design / Graphic Design by: Logan Graphics / Cover: Ruggles Street Station – Boston, MA, 1986 by Stull & Lee/USA / Catalogue: “Design Diaspora: Black Architects and International Architecture”, is available / The exhibition “Design Diaspora: Black Architects and / International Architecture, 1970-1990,” it’s [sic] related / public programs and national tour is organized by The / Chicago Athenaeum: The Museum of Architecture and / Design and made possible by a major grant from the: / LILA WALLACE-READER’S DIGEST FUND / Travel is generously provided by UNITED AIRLINES the / official airlines of The Chicago Athenaeum. / Additional support has been received from: / The National Endowment for the Arts, a federal agency / Graham Foundation for Advance Studies In The Fine Arts / Community Arts Assistance Special Project Grants / City of Chicago Department of Cultural Affairs / Apple Computer, Inc. / Abasubong Overseas Oil S.A. / The British Council / The Netherlands Ministry for Cultural Affairs / The Florence Gould Foundation / The Illinois Art Council, a state agency / The Gallery at 333 West Wacker Drive was created / and is being made available to The Chicago Ath- / enaeum through the generosity of The Equitable Life Assurance Society of the United States and Urban / Investment and Development Co. The 333 West Wacker / Drive Gallery is administered by Jeanne Malkin & / Associates. / Presented in cooperation with: / THE CHICAGO ATHENAEUM: / The Museum of Architecture and Design / THE DESIGN DIASPORA / ART IN PUBLIC PLACES, INC.]

Topic

African American

African diaspora

Architecture

Design

Graphic design

Identity

Museums

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of David Merrick Fairweather and Yvonne Goff

Object number

TA2018.23.2.1.5.1

Restrictions & Rights

© Various. Permission required for use.

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Classification

Archival Collections

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Designed by

Freelon Adjaye Bond/SmithGroup, American, founded 2008

Adjaye, David, British, born 1966

Bond, J. Max Jr., American, 1935 - 2009

Freelon, Philip G., American, born 1953

SmithGroupJJR, American, founded 1853

Manufactured by

Peerless Pattern Works, Inc., founded 1923

Morel Industries, founded 1917

Dura Industries, American, ca. 1985

Northstar Contracting, Inc., American

Medium

cast aluminum coated with vinyl paint

Dimensions

H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

Description

An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, and is the same as the color of the panels installed on the NMAAHC building. Panels were constructed in differing levels of opacity or thickness, in order to regulate the amount of light that enters the building. Panels with varying levels of opacity are used on each side of the building. This panel is the Type A design, with an opacity or density of 65% (35% open). The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column. This panel was fabricated at the same time as the panels installed on the building.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2016.41.1

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

Designed by

Freelon Adjaye Bond/SmithGroup, American, founded 2008

Adjaye, David, British, born 1966

Bond, J. Max Jr., American, 1935 - 2009

Freelon, Philip G., American, born 1953

SmithGroupJJR, American, founded 1853

Manufactured by

Peerless Pattern Works, Inc., founded 1923

Morel Industries, founded 1917

Dura Industries, American, ca. 1985

Northstar Contracting, Inc., American

Medium

cast aluminum coated with vinyl paint

Dimensions

H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

Description

An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, a Custom Artisan 3.5 in a 5-coat Kynar system, a costum Valspare mixture used for each layer of the 5-coats, and is the same as the color of the panels installed on the NMAAHC building. Panels with varying levels of opacity are used on each side of the building, to regulate the amount of light that enters the building. This panel is the Type C design, with an opacity or density of 75% (25% open). This panel was fabricated at the same time as the panels installed on the building.

The tooling for the Corona panels was made at Peerless Pattern Works in Portland, Oregon. The panels were cast at Morel Industries in Portland, Oregon. After painting, the panels were sent to Cleveland, Ohio to Northstar Contracting for assembly onto carrier frames prior to installation on site.

The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2016.41.2

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

Designed by

Freelon Adjaye Bond/SmithGroup, American, founded 2008

Adjaye, David, British, born 1966

Bond, J. Max Jr., American, 1935 - 2009

Freelon, Philip G., American, born 1953

SmithGroupJJR, American, founded 1853

Manufactured by

Peerless Pattern Works, Inc., founded 1923

Morel Industries, founded 1917

Dura Industries, American, ca. 1985

Northstar Contracting, Inc., American

Medium

cast aluminum coated with vinyl paint

Dimensions

H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

Description

An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, a Custom Artisan 3.5 in a 5-coat Kynar system, a costum Valspare mixture used for each layer of the 5-coats, and is the same as the color of the panels installed on the NMAAHC building. Panels with varying levels of opacity are used on each side of the building, to regulate the amount of light that enters the building. This panel is the Type E design, with an opacity or density of 85% (15% open). This panel was fabricated at the same time as the panels installed on the building.

The tooling for the Corona panels was made at Peerless Pattern Works in Portland, Oregon. The panels were cast at Morel Industries in Portland, Oregon. After painting, the panels were sent to Cleveland, Ohio to Northstar Contracting for assembly onto carrier frames prior to installation on site.

The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2016.41.3

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

Designed by

Freelon Adjaye Bond/SmithGroup, American, founded 2008

Adjaye, David, British, born 1966

Bond, J. Max Jr., American, 1935 - 2009

Freelon, Philip G., American, born 1953

SmithGroupJJR, American, founded 1853

Manufactured by

Peerless Pattern Works, Inc., founded 1923

Morel Industries, founded 1917

Dura Industries, American, ca. 1985

Northstar Contracting, Inc., American

Medium

cast aluminum coated with vinyl paint

Dimensions

H x W x D: 63 × 41 1/4 × 1 1/2 in. (160 × 104.8 × 3.8 cm)

Type

facades

Place collected

Washington, District of Columbia, United States, North and Central America

Date

ca. 2013

Description

An openwork cast aluminum panel of the type used to fabricate the cladding that covers the exterior of the National Museum of African American History and Culture, located on the National Mall in Washington, DC. The panel's bronze color is the final finish, a Custom Artisan 3.5 in a 5-coat Kynar system, a costum Valspare mixture used for each layer of the 5-coats, and is the same as the color of the panels installed on the NMAAHC building. Panels with varying levels of opacity are used on each side of the building, to regulate the amount of light that enters the building. This panel is the Type F design, with an opacity or density of 90% (10% open). This panel was fabricated at the same time as the panels installed on the building.

The tooling for the Corona panels was made at Peerless Pattern Works in Portland, Oregon. The panels were cast at Morel Industries in Portland, Oregon. After painting, the panels were sent to Cleveland, Ohio to Northstar Contracting for assembly onto carrier frames prior to installation on site.

The panel sometimes is referred to as a "corona panel," because these panels encapsulate the stacked upper levels of the building's design, referred to as the "corona" levels by the architects. The stacked shape of the building itself was designed to relfect the stacked top portions of Yoruba carved wood columns by Olowe of Ise found on traditional buildings in Nigeria. This top portion is known as a "capital" in architectural vocabulary, and the architects also use the words "crown" and "corona" to refer to the design inspiration they gained from this top portion of Yoruba column.

Topic

African American

African diaspora

Architecture

Design

Local and regional

Ornamentation

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2016.41.4

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Buildings and Structures

Data Source

National Museum of African American History and Culture

Published by

Tuesday Publications, Inc., American, 1965 - 1970s

Edited by

Evans, William Leonard Jr., American, 1914 - 2007

Subject of

Pucci, Emilio, Italian, 1914 - 1992

Unidentified Woman or Women

Sesame Street, American, founded 1969

Owned by

Robinson, Avis Collins, American, born 1954

Medium

ink on paper

Dimensions

H x W: 12 7/8 × 10 7/8 in. (32.7 × 27.6 cm)

Type

magazines (periodicals)

Place printed

Chicago, Cook County, Illinois, United States, North and Central America

Date

September 1971

Description

Edition of Tuesday at Home Magazine, Vol. 1, No. 6. The cover has black printed text at the top and graphics below. The text reads [NATIONAL / EDITION Tuesday / at Home] with [SEPTEMBER 1971 · ISSUED MONTHLY] in the upper right corner. A list of topics discussed in the magazine is below this [BEAUTY FROM THE TOP: / CARE FOR YOUR HAIR / FROM SESAME STREET: / A READ-ALOUD STORY]. The front cover has an image of Emilio Pucci and an unidentified woman. Pucci in on the right side of the image, wearing a suit and looking at the camera. A woman in standing partially behind him in an evening dress with sequin ornamentation and beading. Text in the lower right corner reads [For the Universal Woman: The Fashions of Emilio Pucci/PAGE 10]. There are various articles and advertisements in the issue. The back cover has a Virginia Slims cigarette advertisement. The magazine has twenty-four (24) pages.

Topic

African American

Advertising

Beauty culture

Business

Domestic life

Fashion

Fashion design

Hair

Interior design

Mass media

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2018.17.11.12

Restrictions & Rights

© Tuesday Publications, Inc, 1971. Permission required for use.

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Classification

Documents and Published Materials-Published Works

Data Source

National Museum of African American History and Culture

Designed by

Arthur McGee, American, born 1933

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

wool with metal zipper and plastic button

Dimensions

L x W: 32 1/2 × 64 in. (82.6 × 162.6 cm)

H x W x D (on form): 29 3/4 × 24 × 21 1/2 in. (75.6 × 61 × 54.6 cm)

Type

trousers

Place made

New York City, New York, United States, North and Central America

Date

mid 20th-late 20th century

Description

Culottes designed by Arthur McGee, also referred to as a split skirt, palazzo pant, or midi pants. The pants are a 4-panel design made from a multiweave brown and blue plaid wool fabric. The pant legs are very wide, forming a full half-circle when laid flat. The culottes have two (2) pockets, one at each hip, lined with a gray fabric. The culottes fasten with a brown metal zipper at center back and one (1) plastic tortoiseshell button fastener at the center waistband. The culottes are unlined, and are machine-sewn.

Topic

African American

Clothing and dress

Fashion

Fashion design

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.51

Restrictions & Rights

No Known Copyright Restrictions

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Collection title

Black Fashion Museum Collection

Classification

Clothing-Fashion

Exhibition

Cultural Expressions

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 050

Data Source

National Museum of African American History and Culture

Designed by

Arthur McGee, American, born 1933

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

ab: wool

Dimensions

H x W (flat): 43 × 22 1/2 in. (109.2 × 57.2 cm)

H x W (flat): 1 3/4 × 58 in. (4.4 × 147.3 cm)

Type

dresses

belts (costume accessories)

Place made

New York City, New York, United States, North and Central America

Date

mid 20th-late 20th century

Description

Dusty rose pink wool shirt dress (a) and matching belt (b) designed by Arthur McGee. The A-line dress has a short standing collar decorated with lines of heavy top stitching in similar colored thread, a slit at the center front, elbow length sleeves, and falls just below the knee. The dress fits over the head, it has no fastenings. The dress is not lined except with self-fabric around the front yoke and front slit. There are no labels.

The belt (b) is made from the same wool fabric as the dress. It is decorated at each end with the same lines of heavy top stitching as the collar of the dress, approximately nine (9) inches at each end. It is double-sided.

Topic

African American

Clothing and dress

Fashion

Fashion design

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.64ab

Restrictions & Rights

No Known Copyright Restrictions

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Collection title

Black Fashion Museum Collection

Classification

Clothing-Fashion

Data Source

National Museum of African American History and Culture

Created by

Puryear, Michael, American

Medium

enamel paint and graphite on poplar and pecan wood

Dimensions

H x W x D: 27 1/2 × 31 × 17 in. (69.9 × 78.7 × 43.2 cm)

Type

chairs

Place depicted

West Africa, Africa

Date

2010

Caption

Artist Statement:

“The opportunity to work with woods supplied by Historical Woods of America, specifically poplar from Monticello and pecan from Mt. Vernon, provided me with the opportunity to honor and acknowledge the contributions of African American slaves to this country. Like my own ancestry this heritage began before the founding of the United States. African Americans have fought with honor and loyalty in every war of our nation. They have significantly contributed economically, socially, culturally and politically to American culture.

The Dan Chair is an expression of my pride in being a descendant of slaves. It is an interpretation of a style of chair found among peoples of what was historically known as the Slave Coast of West Africa. One of those peoples is the Dan.

The chair symbolizes the nobility of American slaves and the ukibori, a [Japanese] technique of producing raised patterns in wood, on the legs represents the scars of bondage.”

Description

Low chair by Michael Puryear inspired by a West African design. The chair has a burnished graphite finish over the crafted wood to produce a silver metallic sheen. Small circular bars form the upper half of the chair. The top bar is curved with angled ends. Joins connect this piece to matching bars which meet at the seat base. The base is flat and rectangular and set between thicker framing pieces with rounded edges. There are joins for the four (4) chair legs in these connectors. The legs flare out from the top and have a rim around the base. The front two (2) legs have raised markings in the wood intentionally imitating lash marks.

Topic

African American

Africa

African diaspora

Art

Craftsmanship

Design

Identity

Slavery

United States--History

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2017.18

Restrictions & Rights

© Michael Puryear

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Classification

Decorative Arts, Craft, and Design

Data Source

National Museum of African American History and Culture

Created by

Elkins, Thomas, American

Medium

metal , ceramic , paint , wood

Dimensions

H x W x D: 4 x 3 15/16 x 9 3/4 in. (10.2 x 10 x 24.8 cm)

Type

models (representations)

Date

1879

Description

A patent model of Thomas Elkins' refrigerator design. The model is metal with ceramic interior. The exterior is tarnished and has a design on the top. On one end there is a spout that looks like a funnel. There is a wood base with eighteen holes in the bottom of the model.

Topic

African American

Design

Technology

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2012.113.2

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Tools and Equipment-Culinary

Data Source

National Museum of African American History and Culture

Photograph by

Mitchell, Jack, American, 1925 - 2013

Subject of

Stewart, Ellen, American, 1919 - 2011

Medium

ink on paper

Dimensions

H x W (Image): 11 × 16 in. (27.9 × 40.6 cm)

H x W (Sheet): 12 15/16 × 19 in. (32.9 × 48.3 cm)

Type

inkjet prints

Date

1974; printed 1990s

Description

A black and white digital print photograph of Ellen Stewart. The photograph features Stewart next to a stage light. She has a hat on and her hair is in braided pig tails. She is looking off to the left of the photograph. The back of the photograph has a Jack Mitchell stamp with the number [5823].

Topic

African American

Design

Photography

Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Jack Mitchell Archives

Object number

2016.77.12

Restrictions & Rights

© Jack Mitchell, All Rights Reserved

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National Museum of African American History and Culture Collection

Classification

Media Arts-Photography

Data Source

National Museum of African American History and Culture