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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National Museum of African American History and Culture Collection

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

Created by

Louis Fritz, Guadeloupean, founded 1982

Medium

metal

Dimensions

H x W x D (each): 1 3/8 × 1 × 7/8 in. (3.5 × 2.5 × 2.2 cm)

Type

earrings

Place made

Pointe-à-Pitre, Grande-Terre, Guadeloupe, Caribbean, Latin America, North and Central America

Date

1990s

Description

A pair of tété négresse style gold-colored earrings with fish hook clasps. Each earring is formed with four (4) consecutive circular layers that form a convex shape with the innermost layer being the pinnacle. This center layer is made from a single gold-colored metal bead that has a raised center nipple surrounded by a rounded cone with engraved stripes. The center bead is soldered to a second layer of five (5) gold-colored metal flower beads that have hollow centers with a single stamen protruding from the center. The layer is in turn soldered to the third layer, comprised of nine (9) of these same flower beads. The third layer is soldered to the fourth and outermost layer made from a ring of gold-colored metal resembling a ball chain, but with the back of this piece being flat. There is one rounded ball section protruding from the outermost layer with the looped portion of the clasp extending from it and attaching to a hook at the bottom center back.

Topic

African American

African diaspora

Beauty culture

Clothing and dress

Design

Fashion

Ornamentation

Credit Line

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

Object number

2015.32ab

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Adornment

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

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

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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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Data Source

National Museum of African American History and Culture

Created by

Unidentified

Used by

First African Methodist Episcopal Church of Los Angeles, American, founded 1872

Subject of

Williams, Paul R., American, 1894 - 1980

Medium

wood and cloth

Dimensions

59 x 27 x 24 in. (149.9 x 68.6 x 61 cm)

Type

chairs

Place used

Los Angeles, California, United States, North and Central America

Date

ca. 1969

Description

A chair made from dark brown wood featuring yellow back and seat cushions. Three crosses are engraved at the top of the chair. The back of the chair is consistent in design with the church archway, podium, and windows.

Topic

African American

Design

Religious groups

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of First A.M.E. Church of Los Angeles

Object number

2013.70.1

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Religious and Sacred Objects

Exhibition

Making a Way Out of No Way

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050

Data Source

National Museum of African American History and Culture

Created by

Smith, Art, American, 1917 - 1982

Medium

copper and brass (alloy)

Dimensions

2 5/8 × 2 5/8 × 4 in. (6.7 × 6.7 × 10.2 cm)

Type

bracelets (jewelry)

Place made

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

Date

ca. 1948

Description

A copper and brass "Modern Cuff" bracelet by Art Smith.The bracelet consists of curved pieces of copper with six (6) brass cylindrical pieces that wrap around and interlock to the pieces of copper. A small inscription reading: [Art Smith] is on inside copper portion of the bracelet.

Topic

African American

Art

Craftsmanship

Design

Fashion

Ornamentation

Credit Line

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

Object number

2014.322

Restrictions & Rights

© Estate of Art Smith

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

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

Created by

Marshall, Michael, American

Subject of

University of the District of Columbia, American, founded 1851

Owned by

Marshall, Michael, American

Medium

ink and watercolor on tracing paper

Dimensions

H x W: 10 1/4 × 8 1/2 in. (26 × 21.6 cm)

Type

renderings

Place depicted

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

Date

2011

Description

Architectural drawing of the new Student Center at the University of the District of Columbia (UDC) by architect Michael Marshall. This rendering is done in ink and watercolor on translucent paper. The drawing shows a colorful view of the new student center at UDC which opened in 2016. The building is depicted on the right side of the image with outlined figures shown around the center. On the left is a sidewalk with an elevator and row of trees along the curb. A grassy area is shown between the sidewalk and the building, separated by a low wall. The wall has two (2) flagpoles with the American and D.C. flags depicted. The exterior staircases and large windows are visible in the drawing. There is a multi-story clock tower next to the glass atrium in the center of the image. The reverse is blank. The work is signed in the lower right corner.

Topic

African American

Architecture

Art

Design

Education

Local and regional

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift from Architectural Design Archives, Michael Marshall, Architect

Object number

TA2018.24.2.1

Restrictions & Rights

© Michael Marshall

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National Museum of African American History and Culture Collection

Classification

Decorative Arts, Craft, and Design

Archival Collections

Data Source

National Museum of African American History and Culture