Sleeve patch worn on Major League Baseball uniforms during the 1939 season. The patch commemorated The centennial of Baseball although baseball had been played in various forms before 1839. The anniversary gave credence to the myth that Abner Doubleday should receive credit for formalizing the rules of baseball in 1839 in Cooperstown, New York. While Doubleday's actual involvement is disputed today, he was an important figure to those who argued that baseball was strictly an invention of the United States.
1939's Centennial of Baseball coincided with the opening of the National Baseball Hall of Fame and Museum in Cooperstown, New York.
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.
This bottle of Mucosolvan was sold at the El Monte company store. Shop operators forced workers to buy food and personal items from them at inflated prices. The respiratory medicine was seized during a well-publicized 1995 sweatshop raid and is part of a larger Smithsonian collection of artifacts documenting apparel industry sweatshops, focusing on the El Monte operation.
On August 2, 1995, police officers raided a fenced seven-unit apartment complex in El Monte, California. They arrested eight operators of a clandestine garment sweatshop and freed 72 workers who were being forced to sew garments in virtual captivity. Smuggled from Thailand into the United States, the laborers’ plight brought a national spotlight to domestic sweatshop production and resulted in increased enforcement by federal and state labor agencies. The publicity of the El Monte raid also put added pressure on the apparel industry to reform its labor and business practices domestically and internationally.
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.
Button for the Atlantic Baseball Club, a promotional effort made by the Atlantic Refining Company and its affiliated gas stations. Atlantic would publish an annual baseball guide, in 1938, buttons such as this were provided and attached to mailing cards. If the card was redeemed along with a dime, the sender would receive a Big League Style baseball cap.
This white envelope contained the pay for Aquelina Gaspar and was seized as part of the well-publicized 1995 El Monte sweatshop raid. The envelope is part of a larger Smithsonian collection of artifacts documenting apparel industry sweatshops, focusing on the El Monte operation.
On August 2, 1995, police arrested eight operators of the clandestine El Monte garment shop and freed seventy-two Thai nationals who had been working in a form of modern slavery. Workers, recruited in Thailand, were promised good pay and good working conditions. After signing an indenture agreement for $5,000 they were smuggled into the United States with fraudulent documents. The workers were paid about $1.60 an hour with sixteen-hour workdays in horrifying conditions. They were held against their will in a razor wire enclosed complex with an armed guard and were jammed into close living quarters. By 1999, eleven companies Mervyn's, Montgomery Ward, Tomato, Bum International, L.F. Sportswear, Millers Outpost, Balmara, Beniko, F-40 California, Ms. Tops, and Topson Downs, agreed to pay more than $3.7 million dollars to the 150 workers who labored in the El Monte sweatshop. As in most cases of sweatshop production, these companies contend that they did not knowingly contract with operators who were violating the law.
This letter, written in Thai, belonged to a worker in the El Monte sweatshop.
On August 2, 1995, police officers raided a fenced seven-unit apartment complex in El Monte, California. They arrested eight operators of a clandestine garment sweatshop and freed 72 workers who were being forced to sew garments in virtual captivity. Smuggled from Thailand into the United States, the laborers’ plight brought a national spotlight to domestic sweatshop production and resulted in increased enforcement by federal and state labor agencies. The publicity of the El Monte raid also put added pressure on the apparel industry to reform its labor and business practices domestically and internationally.
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.