Showing posts with label Archivist and Archives. Show all posts
Showing posts with label Archivist and Archives. Show all posts

"Radical Optimism: Celebrating 100 Years of Oscar Brown, Jr.

"Art is Business" https://www.oscarbrownjr.org/
Reposted: Dorian, Africa, and Maggie Brown and Blanc are mounting a tribute to Oscar Brown Jr. to honor his 100th Birthday.  The opening took place on Sunday, September 20, from 2-5.  Eileen Rhodes, the gallery curator and co-owner, invited me to attend. 
I truly hope you can make it. You will enjoy the archival photos, video, and ephemera that Maggie and Dorian have brought together.
Take good care
Eileen
What is featured: A living archive including rare photographs, classic album covers, historical music recordings, and special community programming. 

Would you like information on upcoming performance events or listening sessions tied to the centennial celebration?

Exhibition and Tribute Details: 
Dates: On view through Saturday, October 10, 2026 (marking Oscar Brown Jr.'s 100th birthday).
Location: Blanc Gallery, 4445 S. King Drive, Chicago, IL (Bronzeville).

Curator & Creators: Muralist Dorian Sylvain curated the exhibition in collaboration with the late artist's daughters and fellow musicians, Maggie Brown and Africa Brown.

Muralist Dorian Sylvain and Kahari Blackburn 

Tsehaye Hébert Artist Design the Future





Born on Chicago's South Side, Brown was a songwriter, poet, playwright, performer, and activist whose work moved between music, theater, politics, and Black life without separating one from the other. His voice was distinctly his own, and generations later, the ideas behind the work still resonate.
Radical Optimism: Celebrating 100 Years of Oscar Brown Jr., presented by his children Maggie and Africa Brown and curated by Dorian Sylvain, honors that legacy on the occasion of his centennial.

The timing also gives us another reason to look forward to our next gathering.

On September 26, Diasporal Rhythms will be at Blanc Gallery for Art Smart: Black Collector Forum, hosted by Lee Ann Trotter with the founders of Diasporal Rhythms. Guests can experience Radical Optimism while joining us for a conversation about art, collecting, and what it means to build a collection with greater knowledge and intention.

September 26 | 1–3 PM
Blanc Gallery | Bronzeville

Oscar Brown, Jr. redefined what it meant to be free, Black, and unapologetically human. He worked with Dr. Martin Luther King and Muhammad Ali, turning street cries, jazz riffs, and community struggle into radical truth-telling art. He built a movement that proves there's "gold in the ghetto" and always aimed to help people see our community as a beautiful place.

The exhibit features a collection of rare photos, album covers, music, and other special activations, curated in collaboration with muralist Dorian Sylvain and Oscar Brown Jr.’s two daughters, Maggie and Africa Brown, who have spent their father's centennial year sharing his legacy through many Chicago institutions.

 Remember, our community connects to become better and stronger when we get all the help we need and give all the help we can!

#DiasporalRhythms #OscarBrownJr #ChicagoArt #blancgallery #BlackCollectors

AAAM's Statement on the Retirement of Smithsonian Secretary Lonnie G. Bunch III

"Art is Business"  Dear AAAM Members, Vedet Coleman-Robinson, Ph.D., President & CEO
Association of African American Museums



There are people whose careers can be measured by the positions they have held, the institutions they have built, or the accolades they have received. Then there are rare individuals whose impact is measured by the people who can walk farther because of the path they cleared.
Secretary Lonnie G. Bunch III is one of those people.
On behalf of the Association of African American Museums, I extend our deepest gratitude and heartfelt congratulations to Secretary Bunch as he announces his retirement from the Smithsonian Institution after nearly four decades of extraordinary service.

For historians and public historians, Secretary Bunch has demonstrated what it means to place history in service to the public. He has spent his career reminding this nation that understanding America requires the courage to confront the fullness of the American story. That means telling not only the comfortable chapters, but also those that challenge us, complicate our understanding of the past, and ultimately help us better understand who we are.

For those of us within the African American museum field, however, Secretary Bunch's significance is deeply personal.

He is one of us.

His journey did not begin when he became Secretary of the Smithsonian or when the doors of the National Museum of African American History and Culture opened on the National Mall. His journey through this field stretches back decades, including his early work at the California African American Museum under the leadership of Aurelia Brooks.

Those beginnings matter.

They remind us that before the national titles and historic achievements, Secretary Bunch was doing the work that so many members of AAAM do every day. He researched, collected, interpreted, preserved, educated, and helped communities understand the importance of their own histories. He learned and practiced this profession within the very institutions that form the foundation of our field.

He has also been part of the AAAM family for much of his remarkable career. He has been our colleague, mentor, advocate, historian, museum professional, and friend.

That is part of what makes his story so powerful to us.

He allowed us to see ourselves.

When we watched him lead, we could see what was possible for our own careers. When we watched him build, we could imagine what was possible for our institutions. When we watched him take African American history to the National Mall and ultimately lead the Smithsonian Institution itself, generations of museum professionals could look at him and see that someone who came from our field, understood our institutions, valued our communities, and knew our struggles could reach the highest levels of the museum profession without forgetting where he came from.

Representation at that level matters.

By creating the National Museum of African American History and Culture, Secretary Bunch forever changed the landscape of museums in America. Perhaps equally important is what that accomplishment communicated to generations of historians and museum professionals: our histories belong at the center of the American story.

Secretary Bunch helped pave a road that so many of us now travel.

Because of his leadership, countless historians, curators, educators, preservationists, museum professionals, students, and emerging leaders have been able to imagine possibilities for themselves and their institutions that once seemed beyond reach. His example encouraged our field to dream bigger, insist upon excellence, and continue the difficult work of preserving and interpreting African American history.

His career has also demonstrated something fundamental about the work we do. African American history is not a specialized sidebar to the American experience. It is central to understanding America.

At a moment when the work of historians and museums is as consequential as ever, his legacy reminds us of our responsibility.
  • We must keep telling the full truth about America.
  • We must protect the historical record.
  • We must preserve the stories entrusted to us.
  • We must create space for the next generation.
Furthermore, we must ensure that future generations inherit institutions courageous enough to tell these stories fully and honestly.

Secretary Bunch has carried that responsibility with extraordinary grace, intellect, humility, courage, and determination. Now, those of us who have benefited from his leadership must continue carrying that work forward.

For AAAM, this is not simply the retirement of a Smithsonian Secretary. This is a moment to honor one of our own. It is an opportunity to honor someone who grew from this field, walked alongside this community, helped transform our profession, and then held the door open so that others could follow.

As we celebrate this remarkable chapter in Secretary Bunch's life and career, we invite the entire AAAM family to help us honor him. We welcome our members to share words of congratulations and encouragement, personal reflections, memories, and photographs through the AAAM member portal. Whether you worked alongside Secretary Bunch, learned from him, were mentored by him, shared a moment with him at an AAAM conference, or simply found inspiration in his journey, we invite you to add your voice.

AAAM will collect these messages and images and share them with Secretary Bunch as an expression of the gratitude, respect, love, and appreciation of the African American museum community. We want him to see and hear from the people whose careers, institutions, and lives his work has touched.

Secretary Bunch, thank you for allowing us to see ourselves in you. Thank you for showing generations of museum professionals what is possible. Thank you for making space for others. Thank you for believing in the power of museums, the importance of historians, and the transformative power of history.

Most importantly, thank you for helping America understand that African American history is not separate from American history. It is essential to understanding America itself.

You have paved the way.

We've got it from here. We will continue to fight the good fight!

With profound gratitude,

Vedet Coleman-Robinson, Ph.D.
President & CEO
Association of African American Museums

2026 Preservation Excellence Awards Chicago South Side landmarks

"Art is Business" 
https://www.chicago.gov/city/en/sites/preservation-month/home/2026-preservation-excellence-awards.html#Waters

2026 Preservation Excellence Awards: Chicago's top historic preservation projects, programs, and practitioners will be celebrated at DPD's third annual Chicago Preservation Expo on Monday, May 18, at the Chicago Cultural Center, 78 E. Washington St. Held in honor of Preservation Month, the awards showcase the best preservation work to advance through the Landmarks Commission's Permit Review Committee in the last year. The awards ceremony runs from 6–7 PM and will be emceed by WGN TV personality Ana Belaval. The awardees are listed below.

Muddy Waters House: 
Kenwood

Considered by many to be the "Father of Chicago Blues," Muddy Waters was one of the most important figures in the development of electrified blues music worldwide. His impressive list of awards and commercial successes includes sixteen R&B chart hits with Chicago's Chess Records from 1947 to 1975.  

Born McKinley Morganfield in 1913, Muddy's house on Lake Park Avenue was the only residence the musician ever owned in Chicago. It became an unofficial center of artistic activity for blues musicians. Band members, including Otis Spann, James Cotton, Little Walter, and Paul Oscher, stayed at the house, while lodging and food were also shared with traveling musicians such as Howlin' Wolf, Chuck Berry, and countless other artists.  

In 2021, the house was designated a Chicago landmark with the support of Muddy's great-granddaughter, Chandra Cooper, who owned the home and envisioned creating a museum inside. With assistance from a $250,000 Adopt-A-Landmark grant, as well as other financing and in-kind donations, Ms. Cooper focused on high-priority repairs to get the house ready for visitors. This included work on the historic masonry and new windows matching the original profiles. The bay on the front elevation was reclad to match its appearance when Muddy lived there, and extensive interior work was done, including an entirely new HVAC system. 

Future phases of the project will focus on museum programming, a jam space, an educational recording studio, and office space. When completed as the Muddy Waters Mojo Museum, the building will be a place for music, learning, and community events.  

The project team included Ed Torrez (Arda Design), Mike Mitchell (contractor), and the building's owner. Initial work was completed in 2026.

Roberts Temple Church of God in Christ, 4021 S. State St., Grand Boulevard
Grand Boulevard  (Bronzeville) 

The Roberts Temple Church of God in Christ building had an extensive history leading up to Emmett Till's funeral in September 1955. The church was built as a one-story structure by South Side architect Edward G. McClellan and later expanded in 1927 to include a large second-floor sanctuary. An additional full expansion was completed one year later, and a final remodel was completed in 1943.  

Roberts Temple is best known as the location of the funeral and visitation for Emmett Till after the 14-year-old was murdered by lynching in Mississippi. Mississippi authorities originally planned to bury Emmett locally. Still, his mother, Mamie Till Bradley, insisted that his body be brought home to Chicago for an open casket funeral and later, burial. Ms. Bradley requested that the funeral be held at Roberts Temple Church of God in Christ, with the Rev. Isaiah Roberts presiding. Emmett's death was widely covered by local and national press, and many Chicagoans were outraged by the murder of the young boy, wishing to pay their respects. At least 2,000 mourners assembled inside the church, and as many as 5,000 additional people gathered outside. The event was an important catalyst for individuals seeking social and political justice and equality for African Americans, and the building exemplifies the importance of Emmett Till's tragic death to the Civil Rights Movement in the United States. 

In the 1990s, the church's front façade was reclad in tan face brick. The church congregation wanted to honor its history and restore its exterior to how it looked at Emmett's funeral in 1955. Exterior work began in 2024, including masonry and window restoration of the front façade. The project team retained and recognized the distinct elements of the church's evolution across various periods, renewing its role as a place of worship and a center for education, reflection, and community engagement.  

The project team included Roberts Temple Church of God in Christ, Arda Design (architect), and Berglund Construction (contractor). The work received a grant from the National Trust for Historic Preservation's African American Cultural Heritage Action Fund to assist with project costs. 

Today, the building is a beacon of optimism that reflects its storied legacy and the history of greater Bronzeville.

The Sankofa Project CSUS Historic Preservation

This documentary follows a CSUS professor gifted rare African artifacts from Rhodesia by two sisters whose parents spent nearly 20 years as missionaries in Africa. The film explores cultural preservation, historical responsibility, and the personal stories tied to these artifacts—raising important questions about memory, ownership, and legacy.

Hashtags:
#Documentary #AfricanArtifacts #Rhodesia #CSUS #CulturalHistory #HistoricalPreservation #TrueStory #AfricanHistory

The Sankofa Exhibit: Embrace the Past – Forge the Future opens Oct. 15
Wednesday, October 15, 10am – Friday, December 5, 2025, 3pm

The Sankofa Exhibit: Embrace the Past - Forge the Future opens Oct. 15

The Sankofa Research Team partnered with the Department of Anthropology and the Department of Ethnic Studies in a new exhibit of Zimbabwean cultural items showcasing the principle of Sankofa. The exhibit will be between 10/15/2025 and 12/05/2025, Monday through Friday, from 10 A.M. – 3 P.M., Mendocino Hall 1000. 

Contact: clarence.george@csus.edu, tours: karen.dively@csus.edu.

Location Mendocino Hall, room 1000.


Pop Up Research Station ask the Question- Why Aren’t There More Black Librarians?

"Art is Business"  Reposted by Alpha Bruton,  WordInBlack.com February 11, 2022


Photograph by Tima Miroshnichenko/Pexels

Why Aren’t There More Black Librarians?
Though they account for less than 10% of the industry, Black librarians are crucial in our society.

by WordInBlack.com
February 11, 2022
By Maya Pottiger | Word In Black

Librarians have superpowers. This was true in the late ’90s when Marvel’s original Spider-Woman was a Black librarian named Valerie, and it was true in 1905 when the son of two formerly enslaved Black people opened the first library in the United States that served and was fully staffed by Black Americans, bringing new resources and opportunities to the community.

And it’s true now, as Black librarians across the country go to work every day, either at public libraries or school libraries. Books that tell the truth about America’s history of racism — or that are written by Black folks — are being forced off the shelves.

The whole idea of limiting who has access to reading material is typically and particularly something that a Black librarian has to mobilize against.

TRACIE HALL, EXECUTIVE DIRECTOR OF THE AMERICAN LIBRARY ASSOCIATION
The restriction of literacy is a painful part of Black history in this country, and it’s a critical piece of history for Black librarians in understanding their roles, says Tracie Hall, the executive director of the American Library Association. Before Emancipation, Black people in most Southern states were severely punished (fingers or toes chopped off, for example) for reading or teaching others to read, and white people could be fined, whipped, or imprisoned for giving them books.

“The whole idea of limiting who has access to reading material is typically and particularly something that a Black librarian has to mobilize against. We have to,” Hall says. “That has to be part of our work in the field to protect the right to read.”

Why We Need Black Librarians

Representation matters, period. But civil rights icon Rep. John Lewis once said that internet access would be the civil rights issue of the 21st century. A 2016 Pew Research Center survey on library usage found that “library users who take advantage of libraries’ computers and internet connections are more likely to be young, black, female, and lower income,” with 42% of Black library users accessing those resources. 

As a librarian, Hall believes Lewis was “really honing in on” information access in general. 

It’s about sharing power. It’s about the positive information to create shared power. I think that’s what our role is as Black librarians.



TRACIE HALL, EXECUTIVE DIRECTOR OF THE AMERICAN LIBRARY ASSOCIATION

A key part of the job for Black librarians is to open “lots of gates” to information. During the pandemic, Hall says, we’ve learned that libraries and digital access are critical for three reasons: access to education, access to employment, and access to public health.

“What we have seen, and I think what’s so important, is that information access is going to be one of the main doors that is going to open lifetime opportunities for people,” Hall says. “It’s about sharing power. It’s about the positive information to create shared power. I think that’s what our role is as Black librarians.”

While reinforcing that idea of the role may seem like a heavy lift to some, Hall says she’s noticed that younger Black people are “finding a break from this idea of the librarian as the shushing, quiet, retreating person who just loves, loves books.” Instead, they’re already understanding the role as a way to convert information access into application “to support and provide opportunities for Black lives in this country.”

Librarians Are — Still — Mostly White

As of 2021, only 7.1% of librarians are Black, according to the Bureau of Labor Statistics. This is just below the 10-year average, which is 7.4%. In 2021, roughly 87% of librarians were white people, which has been the average since 2013. In fact, Black, Asian, and Hispanic people have only ever crossed the 10% line twice — Black librarians accounted for 10.1% of the industry in 2011, and Hispanic librarians made up 10.4% in 2017.

“We are still in an era where upwards of 80% of the professional public librarians are white. In order to remain relevant as a field, let alone relevant with the information needs of our community, we have to become much more diverse,” Hall says. “That’s not an altruistic argument or effort. That is necessary in terms of the preservation of libraries and the sustainability of libraries.

While white representation in the librarian field has been very consistent, the rate of Black librarians has varied over the years. There were huge spikes in 2015 and 2020, which were both followed by sharp drops. Interestingly, both of those years were high profile for the Black Lives Matter movement, following the killings of Freddie Gray and George Floyd.

However, it’s unlikely the two increases are directly correlated with the highly publicized deaths. In order to be a librarian, you need to get a master’s degree in library and information science from an ALA-accredited school, which can take a year or two to earn, Hall says.

“We can’t say that one spike in a year is any trend,” Hall says. “What I do know is that there has been a history, and it’s growing, especially in terms of digital assets, of communities, especially Black people, seeing themselves as activists, or scholars, or creatives — being able to see very legibly the cultural intellectual productions of Black libraries and its occupants.”

Recruitment is a huge part of building the pipeline for Black librarians, and Hall says the ALA is doing the work to create it. Since it first began in 1998, ALA’s Spectrum Scholarship has helped more than 1,300 people of color achieve the required schooling. There are other national organizations helping to build pipelines of Black librarians, like the Black Caucus of the American Library Association’s national forum.

Networks Are Key for Black Librarians

As Black people see themselves more in this role, building connections and networks with fellow Black librarians is essential. Enter Black Librarians, an Instagram account with more than 33,000 followers that started in early 2018 to highlight Black librarians and the work they do.
On Facebook, Black Librarians have 1.8K likes • 1.9K followers.

Shannon Bland, who created the page, is the branch manager of a public library in Charles County, Maryland. After scrolling through the accounts she followed — profiles that focus on Black hair, Black love, Black swimmers, and Black gardeners — she wanted to create a digital space to highlight her passion: Black librarians. 

The page quickly gained traction and helped form a community. Bland says she started with meetups and games over Instagram Live, and then people began asking about mentorships. Since April 2019, Bland has helped cultivate around 10 mentor/mentee relationships. 

“It’s all about building community,” Bland says.

In addition to supporting one another, Bland says the community shares resources. As books are being challenged and banned, it can be difficult to speak up, especially if you’re the only Black person in the room. 

“The other thing that we don’t discuss as much are the microaggressions,” Hall says. “The fear of reprisal that many library professionals face when advocating either for certain materials or for the community that are sometimes left out or locked outside of information assets.”

In some cases, people have directly messaged Bland on Instagram about the joy of seeing other Black librarians because they’re the only ones in their library system.

“Whether that community is online or offline or in real life, it’s all about building communities so that we can support each other and encourage each other so that everybody knows they’re not out there alone.”

Join us on Pop Up Research CAFE- Weekly on Tuesday, 11am - 1pm PST. 




Black Metropolis Research Consortium (BMRC)-Archival

"Art is Business"- reposted for Sixty Inches from the Center by Alpha Bruton Pop Up Research Station.


Opening Reception and Trolley Tour:

| Featuring work by | Stephen Flemister | Krista Franklin | Emmanuel Pratt | Amanda Williams |
| Curated by  Tempestt Hazel |


ABOUT THE PROJECT.
The Future's Past is a pilot curatorial project comprising several public window installations and a collaborative exhibition, completed as part of the Black Metropolis Research Consortium (BMRC) Fellowship in Chicago, Illinois. It combines new technology and new media to offer an introductory glimpse into the histories of Chicago’s Black Metropolis, available across a variety of locations, including the archives of the member institutions of the BMRC. 

For this project, information from the archives and other sources will be compiled and curated into five light and image installations in windows, based on significant art and cultural locations along South Parkway (now King Drive), between 35th Street and 47th Street. This particular stretch of land was chosen because it holds some of the richest history in Chicago. Many musicians, performers, writers, journalists, and activists who shaped the Chicago we know today built their enterprises and solidified their undeniable talents within the spaces and on the stages of South Parkway.

The exhibition at Blanc Gallery serves as a starting point and the space that brings together the wide reach of this project. Work by artists Stephen Flemister, Krista Franklin, Emmanuel Pratt, and Amanda Williams, who individually and collaboratively created visual responses to the historic locations and the premise of The Future’s Past, along with a selection of research materials and technological components, will be on view through November 11th.

Coinciding with the exhibition and installations, new technology in the form of QR codes and a website component with additional content will make a selection of the archive and information from the research accessible to the public.


The purpose of this project is to introduce the youth and current community to the history within the streets, buildings, and spaces in which they live their everyday lives through a language they can understand–technology. Doing this will simultaneously introduce the BMRC archives and other resources to a new audience, showcase the rich history in these collections, and promote their use.

Note: If you own a smartphone (iPhone, Android, etc.), you are strongly encouraged to download a barcode scanner before coming to the show to take full advantage of the interaction with the installations and exhibition.


For more information, visit http://futurespastchicago.wordpress.com/.

Phantom Gallery CHI

Gallery Guichard and Donate Life Illinois proudly present "Soul of the Stone"

"Art is Business": Dive into an artsy vibe and explore the hidden stories and energy of stones at this unique event. Gallery Guic...