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- search term:Newark
- date: "1960s"
Your search found 21 result(s).
-
Resurrection City: Untitled
- Photograph by
- Freedman, Jill, American, born 1939
- Subject of
- Poor People's Campaign, American, 1967 - 1968
- Unidentified Man or Men
- Date
- 1968; printed September 2017
- Medium
- silver and photographic gelatin and photographic paper
- Dimensions
- H x W (Image): 12 15/16 × 9 5/8 in. (32.8 × 24.5 cm)
- H x W (Sheet): 14 × 10 7/8 in. (35.5 × 27.7 cm)
- Title
- Photograph of Newark police officer
- Description
- A silver gelatin print depicting a black-and-white image of a Newark, New Jersey police officer standing in a doorway with a second person peeking over his shoulder. The officer wears a peaked cap featuring the seal of the City of Newark with his badge number, a dark shirt, tie, and jacket, and a badge with officer number 1418 and [POLICE] visible on it. The door has a chain to keep it from swinging like those appearing on train car doors, a window with blinds, and a sign that reads [A / PEACEFUL / NEWARK / DEPENDS ON.. / YOU!]. The print is signed on the back in graphite [Jill Freedman].
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Portfolio/Series
- Resurrection City
- Classification
- Media Arts-Photography
- Movement
- African American - Latinx Solidarity
- Poor People's Campaign
- Type
- gelatin silver prints
- Topic
- Activism
- Local and regional
- Politics
- Poverty
- Race relations
- U.S. History, 1961-1969
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2017.81.5
- Restrictions & Rights
- © Jill Freedman
-
Photographic transparency of the Poor People's Campaign
- Photograph by
- Robert Houston, American, born 1935
- Subject of
- Poor People's Campaign, American, 1967 - 1968
- Unidentified Man or Men
- Black Star, American, founded 1935
- Date
- May 21, 1968 - June 23, 1968
- Medium
- reversal film
- Dimensions
- H x W: 1 15/16 × 1 15/16 in. (4.9 × 4.9 cm)
- Caption
- This slide is part of a collection of 35mm slides encapsulating Robert Houston's full portfolio of images related to the Poor People's Campaign and the antipoverty protest camp on the National Mall. Known as "Resurrection City," the camp lasted for six weeks in the spring of 1968.
- Description
- This photographic transparency depicts a yellow school bus parked by the curb with five men's heads protruding from side windows and one man emerging from the door. The photograph is taken from the rear right side of the bus, looking towards the front. There are two hand-made signs taped to the bus’s side, both handwritten on white paper. One, in black letters, reads "NEWARK, N.J. / VAN-GUARD/ POOR PEOPLES/ CAMPAIGN." The other sign, written in red ink reads “NEWARK, NJ." Painted in black and white script by the door's lower corner is the bus company's logo that reads "Mer (?)enthal (?)rs/ Bus Service." Five men lean out the upper half of five bus windows, looking over their right shoulders towards the viewer. Two of the men wear flat caps, and all five men wear over shirts or jackets in shades of khaki or dark blue. A sixth man in a dark blue jacket stands in the bus's open door. With the transparency was a protective plastic sleeve with a sticker on the upper left corner with both handwritten and stamped text.
- Place depicted
- National Mall, Washington, District of Columbia, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- African American - Latinx Solidarity
- Poor People's Campaign
- Type
- transparencies
- Topic
- Activism
- Civil rights
- Housing
- Local and regional
- Photography
- Politics
- Poverty
- U.S. History, 1961-1969
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2015.245.288
- Restrictions & Rights
- © Robert Houston
-
Negro Digest, Volume 17, Number 3
- Published by
- Johnson Publishing Company, American, founded 1942
- Owned by
- Bailey, Jan, American, 1942 - 2010
- Subject of
- Wright, Richard, American, 1908 - 1960
- Karenga, Maulana, American, born 1941
- Date
- 1968
- Medium
- ink on paper, metal
- Dimensions
- 7 5/8 × 5 3/8 × 1/4 in. (19.4 × 13.7 × 0.6 cm)
- Description
- Publication of "Negro Digest" featuring two (2) black and white images, one of Richard Wright on the right side, middle, and one of Ron Karenga in the lower left corner. At the top in white text is the title, date, and price [Negro Digest/JANUARY 1968 A JOHNSON PUBLICATION 35¢]. On the left side in a red square is black and white text of a featured article [A Survey/BLACK WRITERS/SPEAK OUT ON/LITERARY LIONS/AND VALUES/Richard Wright/"The Leading Lion"]. On the left side, in the middle, is a white rectangle with black text with the publication subject [THE CRISIS OF/THE BLACK/INTELLECTUAL]. In the lower right quadrant is an additional red rectangle, also with white and black text [RON KARENGA/and BLACK/CULTURAL NATIONALISM]. Also found within the publication is a white business card with black text [OFFICE 201 - 648-5528 RES. 201 - 676-6846/Roy L. Hill/CHAIRMAN/DEPARTMENT OF BLACK STUDIES/RUTGERS UNIVERSITY/NEWARK, N. J. 07102].
- Classification
- Documents and Published Materials-Published Works
- Movement
- Black Nationalism
- BAM (Black Arts Movement 1965-1976)
- Topic
- Literature
- Mass media
- Politics
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.154.9
- Restrictions & Rights
- © Johnson Publishing Company Inc. Permission required for use.
-
Poster for the Young Lords Breakfast Program
- Created by
- Young Lords Party, American, founded 1969
- Subject of
- Unidentified Man or Men
- Unidentified Child or Children
- Date
- 1969-1970
- Medium
- ink on paper
- Dimensions
- H x W: 22 1/8 × 17 1/8 in. (56.2 × 43.5 cm)
- Description
- A white poster with large, black and white photograph in the upper half. The photograph shows children sitting at tables with food and drinks. Adults wearing hats and black berets stand near and behind the tables. Below the photograph, in the lower half of the poster is black text that reads: [SUPPORT FREE BREAKFAST FOR OUR CHILDREN / YOUNG LORDS FEED HOT MEALS/ TO NEIGHBORHOOD CHILDREN EVERY DAY / we would like to feed more children / DONATIONS OF FOOD & MONEY ARE NEEDED/Young Lords Organization / 75 Park Ave., Newark 482-8313]. The back of the poster is blank.
- Place depicted
- Newark, Essex County, New Jersey, 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
- posters
- Topic
- Activism
- Children
- Communities
- Cooking and dining
- Decolonization
- Political organizations
- Politics
- Poverty
- Social reform
- U.S. History, 1969-2001
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2014.109.7.1
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection
- smithsonian online virtual archive
- Record
- Creator
- Ailey, Alvin
- Mitchell, Jack, 1925-
- name
- Wood, Donna, 1954-
- DeLoatch, Gary, 1953-1993
- Jamison, Judith
- Allen, Sarita
- Chaya, Masazumi
- Truitte, James
- DeLavallade, Carmen , 1931-
- Williams, Dudley, 1938-2015
- Tyson, Andre
- Roxas, Elizabeth
- inclusive dates
- 1961-2004
- Physical description
- 16 Linear feet
- Abstract
- Jack Mitchell (1925- 2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Alvin Ailey (1931- 1989), one of the most influential African American choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also stole the attention of national and international audiences in displaying the racial perspective of dance in the African American experience. This collection serves as Mitchell's documentation of the dance company's evolution while capturing the true idiosyncrasies and physicality of movement through still images. Through Alvin Ailey and Jack Mitchell's partnership, they were able to collaborate and produce a unique production of art, fusing the meaning and movements of dance and the techniques of photography.
- Preferred Citation
- Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.
- Conditions Governing Access
- Collection is open for research. Access to collection materials requires an appointment.
- Scope and Contents
- The Jack Mitchell Photography of Alvin Ailey American Dance Theater Collection is comprised of approximately 10,000 black and white prints of solo and ensemble acts, portraits of principle dancers and various associates of the company, color slides and transparencies for private photo sessions and performances, black and white film strips and their corresponding contact sheets, and reference materials.
- Biographical / Historical
- Jack Mitchell was born on September 13, 1925 in Key West, Florida. Although he was not in the field of photography, Mitchell's father bought him his first camera when Jack was a teenager. His first published photograph was of actress, Veronica Lake, for a War Bond Tour, a tour issued by the government that promoted debt securities to soldiers to finance military operations and expenditures He enlisted in the United States army and became a photographer in Italy at the end of World War II. In 1949, Ted Shawn, a dancer and choreographer who is respected among the dance community as a pioneer of American modern dance, invited Mitchell to Massachusetts photograph his dancers at his dance center, Jacobs's Pillow. It was during this time where Mitchell's interest and appreciation for moving bodies was realized. In the lifespan of his career, Mitchell created over 150 covers for Dance Magazine1, the New York Times, Time, Life, Newsweek, Rolling Stone, Vanity Fair, and Vogue.2
- As Jack Mitchell started to photograph the poses and ballets of the American Ballet Theater throughout the late 1950s, Alvin Ailey saw some of Mitchell's photographs. By 1961, Mitchell had established himself as a distinguished photographer of dance, coining the term, "moving stills". His photographs became the benchmark and standard that other dance photographers measured their work. In November 1961, Ailey invited Mitchell to a performance space in Clark Center, NY, and with his dancers, they performed for Mitchell's camera; some of the photographs from that first photo session can be found in this collection.
- Alvin Ailey was born on January 5, 1931 in in Rodgers, Texas, during the Great Depression. As his repertory reflected, the beginning of his life was defined by a tight-knit, predominantly African American folk culture. At age 12, Ailey and his mother, Lula Cooper, moved Los Angeles, California. It is here that he was exposed to the Ballet Russe de Monte Carlo, which led him to study under the Lester Horton Dance Theater, where he danced with Carmen DeLavallade, James Truitte, and Joyce Trisler. After 3 years of performing and training, he was positioned as a choreographer and later became the director of the company when Lester Horton suddenly died in 1953. His influence from Lester Horton, Martha Graham, and Katherine Dunham help to establish his philosophy that "Everything in dancing is style, allusion, the essence of many thoughts and feelings, the abstraction of many moments. Each movement is the sum total of moments and experiences".3 After Horton's death, Ailey went to perform at Ted Shawn's Jacob's Pillow Dance Festival, and then on to New York with his longtime schoolmate and fellow dancer, Carmen DeLavallade, to perform in the 1954 Broadway production of "House of Flowers". The Alvin Ailey American Dance Theater Company was established in 1958.
- From the beginning of his journey as a dancer and choreographer, Ailey wanted to show African American experience in his performances. He embedded folk culture in his early works "Revelations" and "Blue Suites". In reflection, before his first South Asian Tour, Alvin expressed, "The cultural heritage of the American Negro is one of America's richest treasures. From his roots as a slave, the American Negro- sometimes sorrowing, sometimes jubilant but always hopeful -has touched, illuminated, and influenced the most preserved of world civilization. I and my dance theater celebrate this trembling beauty."4 "Revelations" was well- received by national and international audiences, Ailey recognized by the dance community as a choreographer with promise and his company and ballets he created were highly anticipated. By 1965, Ailey went from being a dancer to being the company's choreographer. From the onset, Ailey embraced diversity and invited interracial and interdisciplinary perspectives at of the company. He also created ballets for other notable companies including the American Ballet Theatre, Royal Danish Ballet, London Festival Ballet, the Joffrey Ballet, Paris Opera Ballet, and LaScala Opera Ballet.5 He was invited to choreograph Samuel Barber's Anthony and Cleopatra for the Metropolitan Opera at Lincoln Center in 19666, and Leonard Bernstein's Mass for the Kennedy Center for the Performing Arts in 1971.7
- As the company embraced racial diversity, Ailey never lost his sense of obligation to the African American community. In 1969, he established the Alvin Ailey American Dance Center, which became the Ailey School, formed the Alvin Ailey Repertory Ensemble, and pioneered programs promoting arts in education, particularly those that benefitted deprived communities. Among his numerous distinctions were the Dance Magazine Award (1975), the NAACP Spingarn Medal (1976), given for "the highest and noblest achievement by an American Negro during the previous year or years"8 , the Samuel H. Scripps American Dance Festival Award (1987), the most prestigious award for modern dance for a lifetime contribution to the field, the Kennedy Center Award (1988) and Honorary Doctorates from Princeton University (1972)9 , Bard College (1977)10 , and Adelphi University (1977). President Barack Obama posthumously awarded Ailey the Presidential Medal of Freedom in 2014, the country's highest civilian honor, in recognition of his contributions and commitments to civil rights and dance in America.11
- Through Jack Mitchell and Alvin Ailey's work, they were able to collaborate and create something "rich in historical connotations, the liveliest kind of permanent record of the works of important creators and creations that formed the nucleus of Ailey's remarkable vision of American dance and what it could be"12. Alvin Ailey's reputation for creating eclectic dance methods produced movements and poses that are still studied and idolized today. Mitchell was able to pay homage to many of the world's best dance artists from James Truitte, Carmen DeLavallade, Dudley Williams, Donna Wood, Renee Robinson, Gary DeLoatch, as well as Ailey, through his photography. With Ailey's longstanding and established stature within the dance community, and Mitchell's pronouncement of the detailed through his use of lighting in his photographs, this collection highlights the incredible collaboration between Ailey and Mitchell, and serves as a unique document of one of the world's most renowned American dance company's.
- Alvin Ailey's vision for a dance company was dedicated to enriching the American modern dance heritage and preserving African American culture. In a 1989 interview with Dance Magazine, shortly before his death, Ailey discussed how he took pride in knowing that "No other company around [today] does what we do, requires the same range, and challenges both the dancers and the audience to the same degree." Ailey searched for a collaborator that would help him display the value of communicative movement; he found his match in Mitchell. Ailey's influence went beyond the stage and Jack Mitchell's images in this collection document that evolution. With Alvin Ailey's passing in 1989 at age 58 and Jack Mitchell's death in 2013 at age 88, these photographs of Alvin Ailey American Dance Theater Collection serves as one of the few sources of this dynamic dance company, from its early days to an internationally recognized troupe.
- Footnotes: Footnotes, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), viii, Bruce Weber, "Jack Mitchell, Photographer of the Arts, Dies at 88", The New York Times Obituaries (November 9, 2013):http://www.nytimes.com/2013/11/10/arts/jack-mitchell-photographer-of-the-arts-dies-at-88.html, Jennifer Dunning, Alvin Ailey: A Life in Dance. (New York; Addison- Wesley, 1996), 123, Ibid, 146., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York: Birch Lane, 1995), 6-7., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York; Birch Lane, 1995), 7., Ibid., Ibid., Dunning, Jennifer. Alvin Ailey: A Life in Dance. (New York: Addison-Wesley, 1996), 286., "Bard College Catalogue 2016-17: Honorary Degrees": https://www.bard.edu/catalogue/index.php?aid=1205177%26sid=670501, Office of the Press Secretary, "President Obama Names Recipients of the Presidential Medal of Freedom" (November 10, 2014): https://www.whitehouse.gov/the-press-office/2014/11/10/president-obama-names-recipients-presidential-medal-freedom, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), ix.
- object type
- Archival materials
- topic
- Dancers -- Photographs
- Alvin Ailey American Dance Theater
- Choreography -- United States
- Dance
- Dance schools -- United States
- Dance -- Production and direction
- Dance companies
- Dance -- North America
-
Yellow school bus - Resurrection City., Wash, D.C. - 1968
- Photograph by
- Robert Houston, American, born 1935
- Subject of
- Poor People's Campaign, American, 1967 - 1968
- Unidentified Man or Men
- Date
- May 21, 1968- June 23, 1968
- Medium
- digital
- Dimensions
- H x W: 4539pixels × 4991pixels
- Description
- This image depicts a yellow school bus parked by the curb with five men's heads protruding from side windows and one man emerging from the door. The photograph is taken from the rear right side of the bus, looking towards the front. There are two hand-made signs taped to the bus' side, both handwritten on white paper. One, in black letters, reads "NEWARK, N.J. / VAN-GUARD/ POOR PEOPLES/ CAMPAIGN." The other sign, written in red ink reads “NEWARK, NJ." Painted in black and white script by the door's lower corner is the bus company's logo that reads "Mer(?)enthal(?)rs/ Bus Service." Five men lean out the upper half of five bus windows, looking over their right shoulders towards the viewer. Two of the men wear flat caps, and all five men wear over shirts or jackets in shades of khaki or dark blue. A sixth man in a dark blue jacket stands in the bus's open door.
- Place captured
- Washington, District of Columbia, United States, North and Central America
- Portfolio/Series
- Resurrection City
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- African American - Latinx Solidarity
- Poor People's Campaign
- Type
- digital images
- digital media - born analog
- Topic
- Activism
- Civil rights
- Communities
- Local and regional
- Men
- Photography
- Resistance
- Social reform
- U.S. History, 1961-1969
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Robert and Greta Houston
- Object number
- 2014.116.46
- Restrictions & Rights
- © Robert Houston
-
Photograph of a man being detained by soldiers during the Newark Riots
- Photograph by
- The New York Times, American, founded 1851
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 10 × 8 1/8 in. (25.4 × 20.6 cm)
- H x W (Image): 9 9/16 × 6 9/16 in. (24.3 × 16.7 cm)
- Description
- A black and white photograph of a man wearing a pinstriped jacket and dark colored slacks being detained in a street by police. There is a bus passing behind them. The man has his arms partially raised, and the three police officers appear to be forcing him off the street. One of the officers is carrying a rifle.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.12
- Restrictions & Rights
- © The New York Times . Permission required for use.
-
Negro Store
- Photograph by
- Benson, Harry, Scottish, born 1929
- Published by
- London Express, British
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet and Image): 6 1/2 × 9 5/16 in. (16.5 × 23.7 cm)
- Title
- Photograph of a storekeeper and storefront in the Newark Riots
- Description
- A black and white photograph of a storefront with a posted sign "This Store is Owned and Operated by Negroes" and the words "Soul Brother" written on the glass. A man in a white shirt and dark slacks is standing to the left of the storefront, looking off to his right. The sign and text were intended to discourage looting during the 1967 Newark riots, by indicating that this store was operated by African Americans.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.6
- Restrictions & Rights
- © Harry Benson/Express/Getty Images. Permission required for use.
-
Photograph of a woman and the body of Billy Furr, shot by police in Newark Riots
- Photograph by
- Lee, Bud, American, 1941 - 2015
- Subject of
- Furr, Billy, American, 1950 - 1974
- Unidentified Woman or Women
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 9 3/4 × 8 in. (24.8 × 20.3 cm)
- H x W (Image): 9 1/2 × 6 5/16 in. (24.1 × 16 cm)
- Description
- A black-and-white photograph depicting a woman in a white dress and dark-colored shoes crouched next to and reaching for a person lying on the sidewalk. The person on the sidewalk appears to be shot in the back and is bleeding. Behind the woman, legs and feet of three other people are visible.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.11
- Restrictions & Rights
- © Bud Lee. Permission required for use.
-
Photograph of a man in a police wagon during the Newark Riots
- Published by
- London Express, British
- Photograph by
- Unidentified
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet and Image): 6 15/16 × 9 9/16 in. (17.6 × 24.3 cm)
- Description
- A black-and-white photograph of an unidentified man in a rumpled three-piece suit with his hands cuffed behind his back, seated alone in the back of a police wagon.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.2
- Restrictions & Rights
- © London Daily Express/Hutlon Archive/Getty Images . Permission required for use.
-
Photograph of police and an injured boy, Joe Bass, in the Newark Riots
- Photograph by
- Lee, Bud, American, 1941 - 2015
- Subject of
- Bass, Joe, American, born 1955
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 8 × 10 in. (20.3 × 25.4 cm)
- H x W (Image): 6 7/16 × 9 7/16 in. (16.4 × 24 cm)
- Description
- A black and white photograph of a street scene at an intersection. There are two police cruisers and police wagon with officers armed with rifles standing in the street. On the sidewalk, an officer is standing in front of a “One Way” traffic sign, holding a rifle, and looking off to the left. On the driver’s side of the police wagon is a child lying in the street, severely injured, in a pool of blood. The child pictured is 12 year old Joe Bass, who had been caught in the crossfire as a police officer shot a man named Billy Furr. Bass was hit twice with stray bullets, once in the neck and once in the thigh. A different photograph of Joe Bass, also taken by LIFE staff photographer, Bud Lee, but from another angle, gained worldwide attention after its publication on the cover of LIFE magazine for the July 28, 1967 issue.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Children
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.4
- Restrictions & Rights
- © Bud Lee. Permission required for use.
-
Photograph of police patrolling a neighborhood during the Newark Riots
- Photograph by
- Lee, Bud, American, 1941 - 2015
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 8 × 10 in. (20.3 × 25.4 cm)
- H x W (Image): 6 7/16 × 9 1/2 in. (16.4 × 24.1 cm)
- Description
- A black-and-white photograph depicting a residential street being patrolled by multiple policemen in dark-colored uniforms with white helmets. There is a car parked in the center of the street with its driver-side door open, and the logo on the driver's side door says "Newark Police." Two policemen stand to the car's right looking across the street with their guns raised. At the far left of the photograph, one policeman appears to be giving attention to a person lying on the ground, while two other policemen stand nearby with guns raised. The street sign indicates that the street is Livingston Street, but the name of the cross street is blurry.
- Place depicted
- Livingston Street, Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.11.8
- Restrictions & Rights
- © Bud Lee . Permission required for use.
-
Soldiers Wait
- Created by
- Benson, Harry, Scottish, born 1929
- Published by
- London Express, British
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet and Image): 7 3/8 × 9 7/16 in. (18.7 × 24 cm)
- Title
- Photograph of soldiers sitting in a store entryway during the Newark Riots
- Description
- A black-and-white photograph of two armed men in U.S. Army uniforms sitting on the ground in a store entryway. The man on the left is slouched on the ground, and the lower half of a mannequin lies face-down on the ground to his right. The other man has his left hand holding up his rifle and he is looking directly at the photographer. In the window of the store there are four large photographs of women exhibiting different hairstyles. "Soul Sisters" is handwritten on the door behind the soldiers, intending to discourage looting during the 1967 Newark riots by indicating that this store is operated by African Americans.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.7
- Restrictions & Rights
- © Harry Benson/Getty Images . Permission required for use.
-
Mute Evidence of Destruction - Dummies Along Springfield Ave
- Photograph by
- Unidentified
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 8 1/8 × 10 in. (20.6 × 25.4 cm)
- H x W (Image): 7 5/8 × 9 1/2 in. (19.4 × 24.1 cm)
- Title
- Photograph of mannequins in the street during the Newark Riots
- Description
- A black-and-white photograph of a smashed department store window along Springfield Avenue in Newark, NJ. Broken mannequin body parts and other debris are scattered on the sidewalk. The image shows an example of the destruction caused during the 1967 Newark riots.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.1
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Photograph of a boy walking ahead of soliders during the Newark Riots
- Photograph by
- Charles, Don Hogan, American, 1938 - 2017
- Subject of
- Unidentified Child or Children
- Unidentified Man or Men
- Unidentified Woman or Women
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 8 1/8 × 10 1/16 in. (20.6 × 25.6 cm)
- H x W (Image): 6 5/8 × 9 5/8 in. (16.8 × 24.4 cm)
- Description
- A black-and-white photograph depicting a child in the forefront, with his hands raised, looking over his right shoulder and walking ahead of a group of soldiers. The soliders are armed with rifles with bayonet attachments, and are walking down the sidewalk in front of the store Krafchick & Son Curtains and Linens. A group of women are clustered to the right of the photograph, standing in storefronts and watching the soldiers pass, while to the left of the photograph men and children are standing in the street, also watching the soliders.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Children
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.5
- Restrictions & Rights
- © Don Hogan Charles/The New York Times/ Redux. Permission required for use.
-
Photograph of soldiers behind a barricade during the Newark Riots
- Published by
- London Express, British
- Photograph by
- Unidentified
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet and Image): 7 3/8 × 9 5/8 in. (18.7 × 24.4 cm)
- Description
- A black and white photograph of six (6) National Guards standing behind a makeshift barricade. Their rifles are raised, and they are taking aim at a point above and behind the photographer. Many of the boxes making up the barricade are labeled as containing linoleum tiles or vinyl flooring.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.13
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Photograph of a girl walking in front of a looted store after the Newark Riots
- Photograph by
- Abbott, Randy
- Subject of
- Unidentified Child or Children
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 9 15/16 × 8 1/8 in. (25.2 × 20.6 cm)
- H x W (Image): 9 13/16 × 7 7/8 in. (24.9 × 20 cm)
- Description
- A black and white photograph of a girl walking alone in front of a store destroyed during the Newark riots. Charred debris is on the sidewalk.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.9
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Photograph of a solider guarding a looted store in the Newark Riots
- Photograph by
- Abbott, Randy
- Subject of
- Unidentified Man or Men
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 10 × 8 1/8 in. (25.4 × 20.6 cm)
- H x W (Image): 9 7/8 × 7 7/8 in. (25.1 × 20 cm)
- Description
- A black-and-white photograph of an armed soldier standing guard with his gun raised in front of a looted store, Belmont Prescription Pharmacy, during the 1967 Newark riots.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.8
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Photograph of soldiers entering a store during the Newark Riots
- Photograph by
- Abbott, Randy
- Subject of
- Unidentified Man or Men
- Unidentified Child or Children
- Date
- July 1967
- Medium
- photographic gelatin and silver on photographic paper
- Dimensions
- H x W (Sheet): 10 × 8 1/8 in. (25.4 × 20.6 cm)
- H x W (Image): 9 3/4 × 7 15/16 in. (24.8 × 20.2 cm)
- Description
- A black-and-white photograph depicting a group of three soliders standing in a store entryway during the Newark riots. The soldiers' backs are to the viewer, and one soldier's gun is raised. A young man dressed in a white shirt and trousers is standing outside the store, and in the foreground a boy is sitting on a tire on the sidewalk, both observing the scene.
- Place depicted
- Newark, Essex County, New Jersey, United States, North and Central America
- Classification
- Media Arts-Photography
- Movement
- Civil Rights Movement
- Type
- gelatin silver prints
- Topic
- Civil rights
- Military
- Photography
- Race discrimination
- Race relations
- Race riots
- U.S. History, 1961-1969
- Urban life
- Violence
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2011.57.10.10
- Restrictions & Rights
- Unknown - Restrictions Possible
-
Badge with an image of the Newark, NJ Prince Hall Masonic Temple
- Manufactured by
- Unidentified
- Subject of
- Prince Hall Grand Lodge of New Jersey, American, founded 1845
- Date
- mid 20th cent.
- Medium
- ink on paper, metal, and plastic laminate
- Dimensions
- 1 3/4 × 3/16 in. (4.4 × 0.5 cm)
- Description
- A white circular button with an image of the Prince Hall Masonic Temple in Newark, New Jersey. The front of the badge features a street level black-and-white image of a four-story building at the center. Text printed in black and curving around the upper and lower edge of the button reads [PRINCE HALL MASONIC TEMPLE / NEWARK, N.J.]. There is no fastener on the back of the badge, which has a circular metal insert and blank white paper backing.
- Place depicted
- 188 Irvine Turner Blvd, Newark, Essex County, New Jersey, United States, North and Central America
- Place collected
- Prince Hall Grand Lodge, Dorchester, Boston, Suffolk County, Massachusetts, United States, North and Central America
- Classification
- Memorabilia and Ephemera
- Type
- badges
- Topic
- Communities
- Freemasonry
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Worshipful Prince Hall Grand Lodge of Massachusetts
- Object number
- 2013.71.6
- Restrictions & Rights
- No Known Copyright Restrictions