Ivory for Cotton - Textile Trade Documents at the National Museum of American History

2018 ◽  
Vol 61 (1) ◽  
pp. 147-160
Author(s):  
Madelyn Shaw ◽  
Amy J. Anderson
Author(s):  
Melani McAlister

In October 2017, hundreds of faculty, friends, and former students gathered at the National Museum of African American History and Culture (NMAAHC) to remember James Oliver “Jim” Horton. It was a fitting gathering place. As the museum’s director, Lonnie Bunch, commented, Jim’s legacy is everywhere at the museum, from the fact that several of his former doctoral students are now curators to the foundational commitment of the museum itself: that African American history is not a local branch of US history but integral to its core. Jim always insisted in his lectures and classes and on his many TV appearances and public engagements that “American history is African American history.” 


MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 39-44 ◽  
Author(s):  
Mary Becker ◽  
Noreen Tuross

Friable natural products are often used in articles of personal adornment, and the perishable nature of these materials presents a unique challenge to museums. At the Smithsonian's National Museum of American History, a collection of gowns worn by the First Ladies of the United States is a popular display of historical and sentimental import. Opened to the public on February 1, 1914, fifteen gowns were displayed as part of a “Period Costumes“ exhibit in the U.S. National Museum (now known as the Arts and Industries Building). Within just a few years, the exhibit was recognized as “one of the most interesting and popular in the Museum.” A First Ladies' Hall was created in the mid-1950s to exhibit the gown collection in period room settings. This design theme continued when the Hall moved to the Museum of American History and Technology (now the National Museum of American History) in 1964. The First Ladies' Hall was closed for renovation in 1987, allowing the curatorial staff to reassess the collection's use and conservators to perform long overdue examinations and treatments. Reinstallation of the exhibit is scheduled for spring 1992.The First Ladies' conservation project includes a history of each gown's use and exhibition as related to its physical condition and also includes stabilization treatments to meet the demands of future display. The current conservation project provided an unusual opportunity for extensive research into fabric deterioration of a popular and important collection. The goals of the research are twofold: first, to determine each object's state of preservation by studying the effectivenss of several analytical approaches with minimal destructive sampling and, second, to begin investigating the mechanisms involved in the degradation of silk, the material predominant in this collection.


2001 ◽  
Vol 23 (4) ◽  
pp. 113-124 ◽  
Author(s):  
L. Stephen Velasquez

During 1997 and 1998 the Smithsonian Institution, National Museum of American History began a series of programs design to augment the Latino presence at the museum through the acquisition and presentation of a large collection from Puerto Rico, The Vidal Collection. This paper looks at the politics of creating a Latino presence at NMAH through the acquisition and presentation of a large Latino collection. Some of the issues to be explored are: how can a (national) Latino space and identity be created in a museum context, how is it contextualized (or re-contextualized) and represented, and what are the institutional ramifications of such initiatives?


1986 ◽  
Vol 60 (3) ◽  
pp. 474-486 ◽  
Author(s):  
Spencer R. Crew ◽  
John A. Fleckner

The Smithsonian Institution's National Museum of American History offers rich opportunities for business historians. In this essay, Mr. Fleckner and Mr. Crew describe the holdings and facilities of the recently established Archives Center and examine in detail the museum's extensive and extremely valuable holdings in advertising history.


Collections ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 33-46
Author(s):  
Kathleen King

Using a collection of surplus German military objects composed of woven paper from World War I in the Smithsonian National Museum of American History as a case study, this article questions the value of keeping objects that no longer support the current mission statement of a museum, or if they ever did. It does not aim to answer definitively such a tough question, as a multitude of factors and stakeholders are involved with such a decision, but rather it seeks to bring this subject matter to the fore of collections and curatorial management, to explore best practices, and to examine if such best practices are being readily followed. The objects’ history, manufacturing processes, materiality, conservation concerns, and significance are explored in an effort to build context around the objects and to determine the appropriateness of their occupancy within the museum.


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