Art

Panorama of the Army of the Cumberland

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

Date: 1990s

Man Milking Goat, Yogi Bhajan's Ashram

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1969
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.095
catalog number
1998.0139.095
accession number
1998.0139

Law Farm

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1971
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.187
accession number
1998.0139
catalog number
1998.0139.187

Mother and Child

A poster commemorating the 75th anniversary of the Women's Bureau. The Women's Bureau is a department within the US Department of Labor. The department strives to create parity for women in the work force.Currently not on view
Description
A poster commemorating the 75th anniversary of the Women's Bureau. The Women's Bureau is a department within the US Department of Labor. The department strives to create parity for women in the work force.
Location
Currently not on view
Date made
1995
associated date
1920
1995
artist
Lopez, Mary Louise
maker
Lopez, Mary Louise
ID Number
1998.0013.08

Planting in the Garden

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1970
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.178
accession number
1998.0139
catalog number
1998.0139.178

The New Brooklyn Museum

A poster created and carried by Edward Pass at a rally held at the Brooklyn Museum on October 1, 1999 protesting Mayor Guiliani's retaliation against the museum for it's "Sensations" exhibition.Currently not on view
Description
A poster created and carried by Edward Pass at a rally held at the Brooklyn Museum on October 1, 1999 protesting Mayor Guiliani's retaliation against the museum for it's "Sensations" exhibition.
Location
Currently not on view
Date made
1999-10-01
date made
1999
associated date
1999
referenced
Giuliani, Rudy
ID Number
2001.0049.01
accession number
2001.0049
catalog number
2001.0049.01

Woman Making Tea

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1974
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.192
accession number
1998.0139
catalog number
1998.0139.192

Hog Farm Free Kitchen at the Woodstock Music Festival

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1969
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.162
accession number
1998.0139
catalog number
1998.0139.162

Man Working in a Field with a Tiller

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1973
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.191
accession number
1998.0139
catalog number
1998.0139.191

Dinner Time in the Outdoor Kitchen, New Buffalo Commune

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.082
accession number
1998.0139
catalog number
1998.0139.082

The New Brooklyn Museum

A poster created and carried by Edward Pass at a rally held at the Brooklyn Museum on October 1, 1999 protesting Mayor Guiliani's retaliation against the museum for it's "Sensations" exhibition.Currently not on view
Description
A poster created and carried by Edward Pass at a rally held at the Brooklyn Museum on October 1, 1999 protesting Mayor Guiliani's retaliation against the museum for it's "Sensations" exhibition.
Location
Currently not on view
Date made
1999-10-01
date made
1999
associated date
1999
depicted (sitter)
Giuliani, Rudy
maker
Idea & Layout:Ed Pass
ID Number
2001.0049.02
accession number
2001.0049
catalog number
2001.0049.02

Young Child Making Chipatis

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1969
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.174
accession number
1998.0139
catalog number
1998.0139.174

Spence Hot Springs, Jemez Mountains

With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1967
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.105
accession number
1998.0139
catalog number
1998.0139.105

Orale ese Vato

As this paño humorously titled Orale ese vato (Spanish for roughly, right on, man) shows, one characteristic of Chicano art is that it avidly consumes and reconfigures both American and Mexican pop culture with its own slang, looks, and attitude.
Description
As this paño humorously titled Orale ese vato (Spanish for roughly, right on, man) shows, one characteristic of Chicano art is that it avidly consumes and reconfigures both American and Mexican pop culture with its own slang, looks, and attitude. A paño is a hand-drawn handkerchief traditionally designed by Chicano prisoners. Like a letter that retells memories of both good and bad times, paños are often mailed as gifts to friends and loved ones. Valued as a vibrant popular art that overlaps with muralism, tattoo design, graffiti, and auto airbrushing, paños and their makers are receiving increased exposure for their visual storytelling abilities. An illustrator and a muralist known for depicting Chicano themes, Walter Baca (1947-1993) designed this paño in New Mexico in 1992.
Description (Spanish)
Como lo muestra este paño con el gracioso títuloÓrale ese vato , un modo de caracterizar al arte chicano es la forma en que consume ávidamente la cultura pop tanto americana como mexicana y la reconfigura con su propia jerga, perspectivas y actitudes. Un paño es un pañuelo dibujado a mano, tradicionalmente diseñado por prisioneros chicanos. Al igual que una carta en la que se recuentan memorias de tiempos idos, buenos y malos, los paños se envían a menudo como presentes a los amigos o seres queridos. Valorados como una expresión vibrante del arte popular superpuesta al muralismo, al diseño de tatuajes y a la pintura de automóviles con aerógrafos, los paños y sus creadores están recibiendo cada vez más publicidad gracias a sus habilidades visuales narrativas. Walter Baca (1947-1993), ilustrador y muralista conocido por sus representaciones de temas chicanos, diseñó este paño en Nuevo México en 1992.
Location
Currently not on view
Date made
1992
artist
Baca, Walter R.
ID Number
1993.0150.02
catalog number
1993.0150.02
accession number
1993.0150

1992 Joyce Marquess Carey's "Art Gecko" Pieced and Appliqued Hanging

Pieced and appliqued hanging labeled “Art Gecko” by Joyce Marquess Carey. The art quilt wall hanging consists of a pieced background of 2” square pieces (pink, white & black - plain and prints) with stuffed work and applique.
Description (Brief)
Pieced and appliqued hanging labeled “Art Gecko” by Joyce Marquess Carey. The art quilt wall hanging consists of a pieced background of 2” square pieces (pink, white & black - plain and prints) with stuffed work and applique. The hanging has a batting interlining and a lining but is not quilted. Design is predominantly black, white, pink, and silver with three-dimensional stuffed, beaded and embroidered geckos and architectural motifs (Chrysler Building, NYC; Besakih Temple, Bali; Pramadani, Java). Four 4” by 6” photos printed on fabric are along one side, anchored, as in a photo album, by black fabric photo corners. The photos are from a trip the artist took to Southeast Asia. There is a 3 1/2" - 4" black print border on two sides. The lining is a print cotton overlaid with a complex Velcro and grommet hanging system covering the complete back.
Location
Currently not on view
date made
1990 - 1992
maker
Carey, Joyce Marquess
ID Number
2017.0320.02
accession number
2017.0320
catalog number
2017.0320.02

Farmers Market (poster)

David Lance Goines is known as a writer and lecturer as well as an illustrator and printer of both letterpress and offset lithography, his work much exhibited and collected throughout the country.
Description
David Lance Goines is known as a writer and lecturer as well as an illustrator and printer of both letterpress and offset lithography, his work much exhibited and collected throughout the country. But his Arts and Crafts influenced design is best known on his posters and in books. Goines was a recognized activist in Berkeley, associated with the Free Speech and Anti-War movements, and he did poster and book work for these movements.
Alice Waters, who founded the Berkeley restaurant, Chez Panisse, was a founding inspiration of the fresh, local, and organic food movement. She met David Goines in the Berkeley Free Speech movement. They began to collaborate on a column, “Alice’s Restaurant” for the local alternative paper. She wrote the recipes and he provided the artwork. He collected and printed each column as Thirty Recipes for Framing and the entire set and individual prints from the set began to appear on Berkeley walls and beyond, establishing him with enough profits to buy the Berkeley Free Press, rechristened the St. Hieronymus Press.
He issued his first Chez Panisse poster, "Red-Haired Lady," in 1972 and his most recent, "41st Anniversary," in 2012. In between is a series of anniversary posters, plus occasional others celebrating the restaurant's book releases, such as the Chez Panisse Café Cookbook, and other ventures. These works established his place as the primary artist associated with food and wine in the so-called Gourmet Ghetto. His early posters for Chez Panisse were soon followed by requests from other food and wine related sites and events, as well as from many other commercial entities.
His 1991 poster, “Farmers Market” (number 148 in the Goines repertory) was commissioned by Chez Panisse on its twentieth anniversary, and made to honor their purveyors, those who supplied Chez Panisse with the fresh and local food for which they were famous. Goines was inspired by the 16th century portrait, “The Laughing Cavalier” by Franz Hals, a Dutch painter. In this instance, the Cavalier’s stand-in is a beautiful Afro-Caribbean woman, Jennifer Caminetti, with the bounty of nature drawn into and around her magnificent head wrap.
Reimagining American cuisine, which was Water’s dream, involved reviving an old food-distribution system, the farmers market. Chefs, consumers, food producers (of produce, meats, chocolate, cheese, bread), and small farmers came together, marketing to and buying directly from each other. The new farmers markets helped create a community of shared values around the quality of food, inviting collaborations. Between 1960 and 2000, the number of farmers markets grew from around 100 to over 3,000. Increasingly, market organizers are also sponsoring food education programs in their local communities. The maturation of their inspirations into environmental and societal sustainability around food has established a solid foundation for good food to appear throughout the country.
date made
1991
maker
Goines, David Lance
ID Number
2012.0089.01
accession number
2012.0089
catalog number
2012.0089.01

Allegro 64

Currently not on view
Location
Currently not on view
Date made
1992
ID Number
1991.0783.13
catalog number
1991.0783.13
accession number
1991.0783
catalog number
1991.783.13

Smithsonian Spectacular II

Currently not on view
Location
Currently not on view
Date made
1991
1992
artist
Huff, Laura Weaver
ID Number
1991.0783.14
catalog number
1991.0783.14
accession number
1991.0783
catalog number
1991.783.14

Diorama of Fisk University Jubilee Singers

Diorama depicting the Fisk University Jubilee Singers, based on a painting by Edmund Havel, 1873. Made of wood and paper applied to plexiglass box with electrical low-voltage lights affixed to the side panels.
Description (Brief)

Diorama depicting the Fisk University Jubilee Singers, based on a painting by Edmund Havel, 1873. Made of wood and paper applied to plexiglass box with electrical low-voltage lights affixed to the side panels. Seven female figures and four male figures made of porcelain with cotton or synthetic lower torso. The diorama includes a grand piano and bench, two chairs, and a settee, all in miniature, made from painted wood and fabric. The women's clothing is made from silk taffeta and the men's clothing from wool. Made by Diedra Bell, Washington, D.C., assisted by Stephney Keyser, Falls Church, Virginia, 1994-1998.

From the nation’s beginning, Americans have grappled with who gets educated and who pays for education. Both public and private schools have relied on a combination of public and private funding. Disparities in wealth and political influence have affected Americans’ ability to support schools. As a result, educational philanthropy has reflected inequalities in the American economy and society. Giving through contributions of time and money have both created opportunities for students and increased inequalities among them.

Barred from schools for white children due to racist practices, African Americans in the late 1800s established and supported a wide variety of educational institutions of their own. In the 1870s the Fisk University Jubilee Singers began touring the United States and Europe to raise money for the African American school. Familiarizing white audiences with black spirituals, the group also advocated for African American rights and independence.

Location
Currently not on view
Date made
1994 - 1998
depicted
Fisk University Jubilee Singers
maker
Keyser, Stephney J.
visual artist
Havel, Edmund
maker
Keyser, Stephney J.
ID Number
1999.0174.01
accession number
1999.0174
catalog number
1999.0174.01

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