blue satin cloth bound album with gold embellishments; "Holidays 1950-1953" handwritten on sticket on front of spine; bound with a single black string; black paper pages; one blank page at end of album; Belonged to Patricia Anne Cohen, formerly actor Patricia English
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.
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.
Beige towel from the Flamingo Hotel in Las Vegas. Phyllis Diller used this towel when she stayed at the hotel during one of her Las Vegas performance gigs. Phyllis Diller was the first female stand-up comic to headline at the Flamingo Hotel, and she was showcased in the Flamingo Room several times, including in 1964, 1966, and 1967.
Poster advertising The Classical Phyllis Diller in the Superstar Theatre at the Tropicana Hotel in Las Vegas. Phyllis Diller performed in Las Vegas in January 1974. This advertisement was in Variety magazine on page 153 on January 9, 1974. The advertisement lists several of the symphony orchestras with which she performed as a solo pianist in 1973 and 1974.
Diller, while known for her stand-up comedy, was also an accomplished pianist. After graduating high school, Diller studied piano for three years at the Sherwood Conservatory of Music (at Columbia College Chicago), but eventually decided against a career in music. From 1971 to 1982 Diller performed with over 100 symphony orchestras across the United States and Canada in a show called The Symphonic Phyllis Diller. During these performances she would seriously perform pieces by Beethoven, Bach, and others as a solo pianist with an orchestra while integrating comedic elements.