Work

Gilbreth Stopwatch

The tools, rules, and relationships of the workplace illustrate some of the enduring collaborations and conflicts in the everyday life of the nation. The Museum has more than 5,000 traditional American tools, chests, and simple machines for working wood, stone, metal, and leather. Materials on welding, riveting, and iron and steel construction tell a more industrial version of the story. Computers, industrial robots, and other artifacts represent work in the Information Age.

But work is more than just tools. The collections include a factory gate, the motion-study photographs of Frank and Lillian Gilbreth, and more than 3,000 work incentive posters. The rise of the factory system is measured, in part, by time clocks in the collections. More than 9,000 items bring in the story of labor unions, strikes, and demonstrations over trade and economic issues.

Date: 2000s

Sweatpants

Working on a factory trawler like the Alaska Ocean means living at sea for weeks at a time. The vessel fishes 24 hours a day, 7 days a week, and everyone aboard works a 12-hour shift.
Description
Working on a factory trawler like the Alaska Ocean means living at sea for weeks at a time. The vessel fishes 24 hours a day, 7 days a week, and everyone aboard works a 12-hour shift. Although at 376 feet the vessel is huge, it is still a confined space with little variation in routines. People relax by working out in the gym, having a snack in the galley, or by watching movies (DVDs) in the large lounge, where a dozen recliners are arranged in a loose semicircle. The staterooms also have television sets and in early June when the boat is typically fishing in the North Pacific off the coast of Washington State, many of the sets are tuned in to Seattle Mariners’ baseball games.
Fishing boat attire runs toward jeans and T-shirts, but sweatpants and shirts are also worn. Sweatpants decorated with the words ALASKA OCEAN running up one leg were popular during the 2007 season. They were worn in leisure time as well as under coveralls during work hours. The pants were available, along with T-shirts, jackets, ball caps, and other attire, in the ship’s store.
date made
2007
Associated Date
2007
maker
Jerzees
ID Number
2007.0178.12
catalog number
2007.0178.12
accession number
2007.0178

Alaska Ocean Coveralls

Fish processors, laboratory staff, inspectors, supervisors, and others who work in the factory aboard the Alaska Ocean wear royal blue coveralls like these when on duty. These polyester coveralls are worn over other clothing to maintain standards of hygiene in the factory.
Description
Fish processors, laboratory staff, inspectors, supervisors, and others who work in the factory aboard the Alaska Ocean wear royal blue coveralls like these when on duty. These polyester coveralls are worn over other clothing to maintain standards of hygiene in the factory. Some processors change their coveralls several times during their daily 12-hour shift, which can extend to kicker shifts of an additional three hours. Because clean coveralls are always in demand, the factory’s laundry crew keeps the industrial washers and dryers running continuously. The coveralls, with the words Alaska Ocean emblazoned across the back, zip up the front and are typically worn tucked into boots.
date made
2006
Associated Date
2007
used
McFarland, Thelma
maker
Fristads
ID Number
2007.0178.20
catalog number
2007.0178.20
accession number
2007.0178

Fisherman’s Boots

Deck hands working aboard most commercial fishing vessels require protective clothing from head to toe. Non-slip, waterproof footwear is essential, and on the Alaska Ocean factory trawler, the deck hands, as well as the people who work in the factory, wear “Xtratuf” boots.
Description
Deck hands working aboard most commercial fishing vessels require protective clothing from head to toe. Non-slip, waterproof footwear is essential, and on the Alaska Ocean factory trawler, the deck hands, as well as the people who work in the factory, wear “Xtratuf” boots. Manufactured in the United States, these neoprene boots are made for “severe fishing, farm, and work conditions.” This pair was worn by a deck hand aboard the Alaska Ocean in summer of 2007.
date made
2007
2006-2007
Associated Date
2007
maker
Norcross Safety Products, L. L. C.
ID Number
2007.0178.01
accession number
2007.0178
catalog number
2007.0178

Ship Model, Catcher-Processor Alaska Ocean

This scale model of the fishing vessel Alaska Ocean was custom-built for the Smithsonian by Erik A. R. Ronnberg Jr., at his shop in Rockport, Massachusetts.
Description
This scale model of the fishing vessel Alaska Ocean was custom-built for the Smithsonian by Erik A. R. Ronnberg Jr., at his shop in Rockport, Massachusetts. The starboard hull is cut away to reveal the factory where workers process tons of fish into blocks of frozen fillets, minced fish, and surimi (used in making imitation crab meat and other food products). The cutaway also shows the laboratory where fish products are tested, the freezer hold, a stateroom, and the galley. On the weather (top) deck, the model features all of the deck machinery, the trawling equipment, and the vessel’s rigging. A net full of fish is shown being emptied into one of the bins on the factory floor below.
Ronnberg spent about 27 months building the model, and estimates he spent 5,500 hours getting every detail right. While he built the wooden hull according to design drawings provided by naval architect Guido Perla of Seattle, he had to make his own drawings and patterns to craft the machinery and equipment, most of which are cast in metal. Ronnberg used cheesecloth and tulle to make the net and spent untold hours fashioning the chafing gear out of acrylic yarn, which he knotted in bunches before separating the strands by hand.
He studied photographs and films of the actual vessel at sea, and made detailed figures of people dressed in appropriate working gear in the factory, on the deck, in the fish hold, in the galley, and on the bridge. The model is populated with 125 figures, 1,200 individual fish, and several masses of fish in the cod end of the net. Everything on the model is painted by hand. The scale is 3/16th inch = 1 foot.
The Alaska Ocean itself is a 376-foot-long vessel in the Seattle-based catcher-processor fleet. Workers catch, process, package, and freeze groundfish—mostly pollock and Pacific whiting—in the Bering Sea and in the waters off the coast of the Pacific Northwest. The vessel can harvest about 325 metric tons of fish per day and can freeze over 250,000 pounds of fish product daily.
The idea to build the Alaska Ocean began in the late 1980s. Jeff Hendricks, a fisherman from Anacortes, Washington, who owned and operated a fleet of boats in partnership with a Japanese company, decided to “Americanize” his operations. This was in advance of the American Fisheries Act of 1998, which sought to increase American ownership in the fleet by requiring that vessels be American-built, owned, and operated. Although Hendricks sought bids from several American shipyards for his new venture, there were none at the time that could handle the scope of the vessel he envisioned. Eventually, he worked with a shipbuilder in Norway to expand and rebuild an American oil supply vessel. The Alaska Ocean arrived in Anacortes in the summer of 1990 and began fishing that fall with a largely local crew. It remains in the fleet and, as of 2008, is owned and operated by Glacier Fish Company.
Because catcher-processors are so efficient, their operations are highly regulated to prevent overfishing. A harvest quota is determined by the National Marine Fisheries Service and members of the Pollock Conservation Cooperative, a group of catcher-processors including the Alaska Ocean, divide up the quota amongst themselves. This self-regulating measure ends what is often called the "race for fish," and results in more careful, less wasteful fishing.
Independent scientific observers also travel aboard every vessel in the fleet, monitoring the trawling and empyting operations. They record all by-catch, the term for fish caught in the net other than the target species. There are hard limits on allowable by-catch for certain species, and because the data are computed, reported, and shared for the fleet as a whole, individual vessels are motivated to monitor the by-catch and make adjustments.
date made
2009
ID Number
2009.0080.01
accession number
2009.0080
catalog number
2009.0080.01

117th Rose Parade

Eduardo Kachskovsky had a long career at KMEX-TV (Univision) starting in 1980 and serving the Latino community. He worked from 1989 to 2004 in various roles from producer/director to creative director of live news and events.
Description
Eduardo Kachskovsky had a long career at KMEX-TV (Univision) starting in 1980 and serving the Latino community. He worked from 1989 to 2004 in various roles from producer/director to creative director of live news and events. Such events ranged from award shows and political debates to the annual Rose Parade. Spanish-language TV stations were committed to co-sponsoring and televising events that promoted education, health, and civic understanding among communities of viewers. In addition, they invested in the needed staff, reporters, and technology to go on location and connect audiences to live events. If there was an event in LA, “Kach” was probably there. His collection includes not only press badges and a KMEX jacket, but also photographs and an oral history.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Eduardo Kachskovsky desarrolló una extensa carrera en KMEX-TV (Univision) a partir de 1980 y sirvió a la comunidad latina. Se desempeñó en distintas funciones de 1989 a 2004, desde productor / director hasta como director creativo de noticias y eventos en vivo. Dichos eventos iban desde entregas de premios y debates políticos hasta el Desfile de las Rosas anual. Los canales de televisión en español se comprometieron a copatrocinar y televisar eventos que promovieran la educación, la salud y el entendimiento cívico entre las comunidades de televidentes. Además, invirtieron en el personal, los reporteros y la tecnología necesaria para trasladarse hasta los lugares y conectar a las audiencias con los eventos en vivo. Allí donde hubiera un evento en Los Ángeles, probablemente estaría "Kach". Su colección incluye insignias de prensa y una chaqueta KMEX, al igual que fotografías y una historia oral.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
2006
2006-01-02
ID Number
2018.0007.07
catalog number
2018.0007.07
accession number
2018.0007

Hurricane Clean-up Yard Sign

No sooner had Katrina departed New Orleans in August 2005 than waves of hurricane clean-up signs went up in neighborhoods hard-hit by the storm, offering house-gutting services, mold removal, drywall replacement, and even building removal.
Description
No sooner had Katrina departed New Orleans in August 2005 than waves of hurricane clean-up signs went up in neighborhoods hard-hit by the storm, offering house-gutting services, mold removal, drywall replacement, and even building removal. The work was hazardous, involving the mucking out of homes and the handling of mountains of demolition debris and sodden household belongings. Many homeowners undertook their own clean-up, but much was performed by immigrant laborers attracted to the region by the promise of hard work and good wages.
Location
Currently not on view
Date made
2006
Associated Date
2006
maker
June, Eric
ID Number
2006.3067.01
catalog number
2006.3067.01
nonaccession number
2006.3067

Factory Processor’s Boots

These non-slip, waterproof boots were worn by Thelma McFarland, a fish processor working aboard the Alaska Ocean factory trawler in the summer of 2007.
Description
These non-slip, waterproof boots were worn by Thelma McFarland, a fish processor working aboard the Alaska Ocean factory trawler in the summer of 2007. Manufactured in the USA, these “Xtratuf” boots are made of neoprene, a synthetic rubber.
Processors work 12-hour shifts and, if the factory is busy, they may work an additional 3 hours, called a kicker shift. For most of this time, the workers are on their feet, standing at processing tables or conveyor belts, or walking from one station to another on grated walkways. These walkways, like the areas around the equipment where processors stand to work, are raised above the floor, allowing the water used in factory operations to run beneath the workers’ feet. Despite being elevated above any water flow, it is still essential for workers to wear non-slip, waterproof boots to keep their feet warm and dry.
These boots are identical to those worn by deck hands. Most of the specialized clothing worn by workers and crew aboard the Alaska Ocean is provided by the company. Boots, however, are purchased by individuals, and are available in the on-board store. Felt insoles for the boots are available in the laundry and are washed frequently by laundry staff.
date made
2007
used
2007
used
McFarland, Thelma
maker
Norcross Safety Products, L. L. C.
ID Number
2007.0178.17
catalog number
2007.0178.17
accession number
2007.0178

Carpenter's Tools

Pictured here are a carpenter's hammer and square. Carpentry was considered both skilled and semi-skilled labor. Many carpenters worked independently and traveled the countryside looking for work opportunities.En esta foto se observan un martillo y una escuadra de carpintero.
Description
Pictured here are a carpenter's hammer and square. Carpentry was considered both skilled and semi-skilled labor. Many carpenters worked independently and traveled the countryside looking for work opportunities.
Description (Spanish)
En esta foto se observan un martillo y una escuadra de carpintero. La carpintería se consideraba como mano de obra calificada y semi-calificada. Muchos carpinteros trabajaban en forma independiente y viajaban a lo largo del país buscando oportunidades de empleo.
Location
Currently not on view
Date made
20th century
ID Number
1997.0097.1130
accession number
1997.0097
catalog number
1997.0097.1130

Wood Planer

This carpenter's wood planer was bought from Juan Camarón, a cabinet maker from Barrio Obrero in San Juan. It was made by another cabinet maker many years earlier.
Description
This carpenter's wood planer was bought from Juan Camarón, a cabinet maker from Barrio Obrero in San Juan. It was made by another cabinet maker many years earlier. The objects collected by Teodoro Vidal illustrate many aspects of labor and production in Puerto Rico.
Description (Spanish)
Esta cepilladora de carpintero se obtuvo de Juan Camarón, un fabricante de armarios del Barrio Obrero de San Juan, pero ha sido fabricada años atrás por otro artesano de gabinetes.
Location
Currently not on view
Date made
20th century
user
Camaron, Juan
ID Number
1997.0097.1190
accession number
1997.0097
catalog number
1997.0097.1190

Fire Helmet, "RESCUE 8"

The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T.
Description
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This white leather fire helmet was likely made in the early 20th century. The helmet has a ribbed crown with four metal-clad combs and a metal eagle frontpiece holder. The frontpiece is made of metal and features the number “8” in the center with a crossed hook and ladder behind it. At the top and bottom of the frontpiece are engraved cartouches with the text “RESCUE/AFD.”
Location
Currently not on view
date made
20th century
maker
unknown
ID Number
2005.0233.0169
accession number
2005.0233
catalog number
2005.0233.0169

Hachuela

Currently not on view
Location
Currently not on view
Date made
20th century
ID Number
1997.0097.1118
accession number
1997.0097
catalog number
1997.0097.1118

Fire Engine Plate, "Independence"

At the core of any fire company is the apparatus used to fight fires and protect lives. This was particularly true of for the volunteer fire fighters in 19th century America.
Description (Brief)
At the core of any fire company is the apparatus used to fight fires and protect lives. This was particularly true of for the volunteer fire fighters in 19th century America. Often purchased with their own funds, their fire engines were the focus of their pride and affection, as well as their identities as fire fighters. Engine plates, often made of brass, would be prominently affixed to engines and inscribed with the company name, number, and founding date. Engine plates could pass from old engine to new, or be kept in the firehouse as a memorial to a departed apparatus.
This rectangular zinc engine plate has a raised silver border with raised silver text in large block letters that reads “INDEPENDENCE.” Independence was a common name for 19th century volunteer engine companies, which makes it difficult to identify the exact company that used this plate.
Location
Currently not on view
date made
late 19th century-early 20th century
maker
unknown
ID Number
2005.0233.0931
accession number
2005.0233
catalog number
2005.0233.0931

Flyer, Fisher Poets Gathering

Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life.
Description
Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life. Inspired by the National Cowboy Poetry Festival in Elko, Nevada, a group of poets and teachers, all tied in some way to the commercial fishing industry, founded the event. The gathering has grown every year, attracting fisher poets from California to Cape Cod, and Alaska to Florida. It has also been designated as a Local Legacies Project by the Library of Congress’s American Folklife Center. This flyer is from the 2005 Fisher Poets Gathering, held at the Wet Dog Café and five other venues on or near the Astoria waterfront. The 2005 events featured about 70 people who performed readings or music, displayed artwork, and conducted workshops. The event drew over 700 people.
People have created stories, songs, and poems about their working lives for millennia, and American folklore is awash in tales of people working the water. Fishermen’s narratives often reveal a profound sensory awareness, reflecting their close relationship with the natural world. Likewise, the inherent dangers of fishing typically inspire stories and poems featuring strong spiritual elements. Although the aesthetic and spiritual sophistication of fishermen’s narratives often come as a surprise to outsiders, they are celebrated during performances at the Fisher Poets Gathering.
Astoria, established near the mouth of the Columbia River, was the hub of commercial salmon fishing in the 19th and early 20th centuries. With thousands of resident fishermen and scores of canneries lining the river, the town’s identity was wrapped up in the salmon industry. As salmon populations in the river declined, many in the industry relocated, at least seasonally, to Alaska. The Fisher Poets Gathering honors the history of Pacific Coast fishing, as well as the men and women who still live the fishing life. With odes to herring scales, dirges about those lost at sea, and tales of fishers remarkably attuned to nature, the tradition of fisher poets continues to thrive in Astoria.
Date made
2005
ID Number
2005.3075.04
catalog number
2005.3075.04
nonaccession number
2005.3075

Cantimplora

This contemporary coconut canteen demonstrates dynamic craftsmanship using a variety of materials. The main body is made from a polished coconut incised with geometric designs.
Description
This contemporary coconut canteen demonstrates dynamic craftsmanship using a variety of materials. The main body is made from a polished coconut incised with geometric designs. It is carried in a metal frame with a wooden handle and sealed with a plastic and cork stopper.
Description (Spanish)
Esta cantimplora contemporánea de coco es ejemplo de una artesanía dinámica que recurre al empleo de gran variedad de materiales. El cuerpo principal del objeto está confeccionado de coco pulido con incisiones de diseños geométricos; posee un soporte metálico con asa de madera y un tapón de plástico y corcho.
Location
Currently not on view
Date made
20th century
ID Number
1997.0097.0956
catalog number
1997.0097.0956
accession number
1997.0097

carpenter's square

Currently not on view
Location
Currently not on view
Date made
20th century
ID Number
1997.0097.1199
accession number
1997.0097
catalog number
1997.0097.1199

Trinchante y Hacha

This hatchet and knife from the Hormigueros region were used in carving santos. The hatchet is 16 cm. long, and the handle is made of the native guayalote wood and has a hole pierced near the end. The knife has a 9 cm.
Description
This hatchet and knife from the Hormigueros region were used in carving santos. The hatchet is 16 cm. long, and the handle is made of the native guayalote wood and has a hole pierced near the end. The knife has a 9 cm. wooden handle carved into a spiral shape.
Description (Spanish)
Esta hacha y trinchante provenientes de la región de Hormigueros se utilizaban para el tallado de santos. El hacha tiene 16 centímetros de largo y el mango está hecho de madera nativa de guayabote y presenta una perforación cerca del extremo. El trinchante tiene un mango de 9 cm. de largo tallado en forma de espiral.
Location
Currently not on view
Date made
20th century
ID Number
1997.0097.0324
accession number
1997.0097
catalog number
1997.0097.0324

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