Last Friday, I pedaled my butt to 6500 N. Clark Street to visit the Gerber/Hart Library, Chicago’s premier LGBTQ research space. At first I wondered if I was at the right building, as construction equipment and workers occupied the ground level, but the second floor was attractive and very open for business. An exhibit on LGBT music and a community bulletin board/table, offering free materials such as The Windy City Times, greeted me before I even entered the library. Once inside, I received an enthusiastic welcome from the staff member who offered a tour of the library, exhibits, and even the archives and special collections. The space was bright and inviting, equally embracing its academic mission and community-development role.
October is American Archives Month. #AskAnArchivist Day marked the start of the month by having archivists and archival institutions respond to Twitter questions that utilized the aforementioned hashtag. Questions could be directed to specific institutions or individuals by directly tweeting that museum, archive, or person in combination with the hashtag. #AskAnArchivist worked in exactly the same way as #AskACurator Day that took place on September 16, 2015. The importance and success of these social media events can be found in the statistics:
In the digital age museums and archives have turned to the internet to find ways to reach larger audiences. Institution information such as hours of operation, events, and collections can be found online. Social media plays an important role in reaching audiences that may not otherwise seek out museums, historical sites, or archives. Events like #AskACurator and #AskAnArchivist encourage a social media collaboration of institutions worldwide to promote their respective professions. The more people taking part in the event and using a defined hashtag ultimately will help to move the hashtag up in the queue of trending Twitter topics. Trending hashtags reach even larger audiences because they are promoted within Twitter’s trending topics and are seen by people who may not have any idea that such a day existed.
The following review evaluates the latest exhibition on display at the Newberry Library. It is free and open to the public from 8:15 am – 7:30 pm on Tuesdays through Thursdays, and from 8:15 am – 5:00 pm on Fridays through Mondays.
Chicago-area scholars are most assuredly acquainted with the diverse array of historical resources available at the Newberry Library. However, what would happen if pieces from their acclaimed collections found a way off the shelves and into a gallery space? The answer can be found in a new exhibition called “Stagestruck City.”
According to the first didactic panel visitors encounter upon entering the exhibit, the show’s story is about the venerable Goodman Theatre, Chicago’s oldest center for performing arts. It aims to explore “the theatre’s founding within the context of a remarkable heritage of live performance and popular amusement in the city.” This mention of “context” is critical for the exhibition as a whole, as one of its greatest strengths is delving into the intricacies of the Goodman’s founding while not overwhelming the audience with details about just one location. Indeed, the exhibition begins by examining theatres that reigned over the Second City’s entertainment industry decades before the Goodman was even conceived.
The first segment of gallery space succeeds in drawing in the visitor. The vibrant posters from places like the Adelphi Theatre and Col. Wood’s Museum (left) are mesmerizing examples of ephemera, and scanning through them could make readers feel like they themselves are late-nineteenth century theater buffs. Before 1871, contemporary plays could amusingly share the stage with more carnivalesque attractions such as the world’s largest lion! Everything changed, though, with the Great Chicago Fire. The conflagration consumed Chicago’s entertainment venues, providing an opportunity for more grandiose theatrical arenas to rise in their wake.
Experimental rock group Yeasayer released its second album, Odd Blood, in 2010 to a generally favorable reception. As compared to the band’s previous work, critics appreciated the foray into much more accessible pop sensibilities. But beneath the catchy hooks and upbeat affirmation of the album’s first single, “Ambling Alp,” lies a kernel of historical inspiration. Unlike the mysterious and somewhat impressionistic vocals of their other songs, the lyrical allusions of “Ambling Alp” reference a particularly notable figure in sports history: the great boxer Joe Louis, the “Brown Bomber,” heavyweight champion of the world from 1937-1949.
Oh, Max Schmeling was a formidable foe.
The Ambling Alp was too, at least that’s what I’m told
Joe Louis fought Primo Carnera in 1935, the Italian boxer whose nickname, “The Ambling Alp,” provides the song its title. He knocked out the massive Italian in six rounds, with the powerful victory setting off his career. At that time he was still on his way to the heavyweight title, a road that would hit an unexpected bump in his first fight with German boxer Max Schmeling in 1936. Though few expected Louis to have any trouble, Schmeling handed Louis his first professional loss with a knockout in the twelfth round. Louis had underestimated his opponent, and Schmeling had carefully prepared. But the importance of the fight extended beyond the ring: Max Schmeling fought under the flag of the Nazi regime, and his victory made for excellent material in the Nazi propaganda machine. Though not a Nazi himself, Schmeling’s victory over Louis, a black American, was twisted into further justification for German theories of Aryan racial superiority.
When I began my internship at the Peoria Riverfront Museum this past May, I had a vague idea of what to expect. I had put together a small panel exhibit at Marquette University, and I had also developed a small exhibit for the Milwaukee County Historical Society. But I had never produced an exhibit that would serve as the main feature of a gallery. The Gypsy Coeds Ride the Silver Streak will occupy 2,000 square feet at the Peoria Riverfront Museum beginning this Friday, October 16, to January 17, 2016. Sifting through research materials and finding objects to feature in the exhibit was a rewarding and challenging process, and after fifteen weeks I feel like I learned more about the exhibit development process and how a small museum operates.
Twenty young women from Bradford, Illinois, traveled the country in a silver 1926 Ford Model T over eight summers in the 1930s and 1940s. They called themselves the Gypsy Coeds, and they dubbed their old “flivver” the Silver Streak. Wherever they went—Canada, New York, Atlanta, or California—they drew a crowd. Everyone wondered how these girls could travel across the country without a proper chaperone. The crowds were also astonished that the ancient “tin Lizzie” still ran! After all, by the last trip the car was sixteen years old. But the girls trusted the old Ford, and their story struck a chord with townsfolk and celebrities across North America.
I started work on the exhibit in the middle of May, and Kristan McKinsey, my supervisor and curator of the museum, already had a wealth of information for me to process. McKinsey had heard about the Gypsy Coeds from a museum member and had contacted John Butte, the owner of the Silver Streak. Butte had already begun extensive research on the Gypsy Coeds and the Silver Streak in preparation for writing a book about the trips. He had also developed a website about the girls and the car. Butte shared many of the objects he had at his disposal; his mother was a Gypsy Coed, and she collected many souvenirs on her trip in 1939. I had many resources at my disposal, and I was confident that I could put together a fun and educational exhibit.
McKinsey suggested that I begin by brainstorming ideas of what I wanted the exhibit to have in it; how would I convey this remarkable story? My interest in oral history led me to think of incorporating that element some how. McKinsey had also informed me that the museum had an interactive touch-screen, and she wanted to use it to trace the routes of some of the Gypsy Coeds’ more significant trips. But I also incorporated more traditional exhibit elements: labels, objects, and photographs. After discussing my ideas with McKinsey, she suggested creating a project timeline. After creating the timeline, I dove into the research.
In October 2013, Loyola University Chicago public history graduate students launched Public History Lab, a student-driven effort to apply public history skills at organizations and sites of history in the Chicagoland area. This post belongs to a series that chronicles efforts undertaken by members of the Public History Lab.
Spanning several years and spawning multiple course projects, the Chrysler Village History Project offers unique insight into the dynamics of a long-term collaboration between a local community, history graduate students, and faculty. The following account presents the evolution of the project to foster continued reflection on the practice of public history inside and outside the classroom.
The Origin Story
In early 2013, an energetic young alderman from the Southwest side of Chicago reached out to Loyola professor Dr. Theodore Karamanski with a request to nominate the neighborhood of Chrysler Village to the National Register of Historic Places. Located in the Clearing neighborhood just south of Midway Airport, Chrysler Village was one of the few housing construction projects undertaken in Chicago during World War II. It was strategically located near the Ford-Chrysler plant where workers assembled B-29 “Superfortress” bomber engines. Characterized by winding streets and a centrally-located park, Chrysler Village also represents an important link between prewar planned communities and postwar suburban development. As part of a preservation course led by Dr. Karamanski in the Spring of 2013, fellow Loyola history graduate students and I unearthed the neighborhood’s historical significance through extensive research in the archives and on the ground in Chrysler Village.* We continued to develop the nomination in the months after class until the nomination was officially accepted in early 2014 and Chrysler Village was added to the National Register of Historic Places.
As satisfying as it was to help put Chrysler Village on the National Register, we couldn’t help but ask how the listing could better benefit the community. At the 2014 Annual Meeting of the National Council on Public History, Kim Connelley Hicks and I joined a roundtable on preservation to discuss how we could build on our nomination to create a sustained, financially soluble, and socially relevant project for a changing community. The roundtable generated a host of great ideas, but as the original core of students moved on in their lives and careers, we needed leaders with a plan to move the project forward.
Chicago’s 580 parks are littered with statues of historically significant men. Some of these men may be familiar to you: Nicolaus Copernicus, Benjamin Franklin, Abraham Lincoln. Others may be unfamiliar: Greene Vardiman Black, for example, the “father of modern dentistry.” While the accomplishments of these notable figures vary, their gender does not. In fact, there is not a single statue in Chicago that honors a historically significant woman.
The lack of public statues honoring women has received recent attention in the local media, and for good reason. In a city home to such important female leaders like Ida B. Wells and Jane Addams, how can public depictions of women remain absent in Chicago’s parks?
The Chicago Park District told WBEZ Chicago that this absence is an issue of timing; the heyday of public sculpture in the city occurred before women earned the right to vote and were therefore not involved in public life. Yet this argument does not explain why men continued to be honored in Chicago parks long after women earned the right to vote in 1920. As recently as 2006, the Chicago Park District has added a new bronze statue of a male figure to its expansive park system.
Originally posted on History Graduate Student Conference:
Call for Papers
Loyola University Chicago History Graduate Student Conference
November 14, 2015
Loyola University Chicago Water Tower Campus, Chicago, IL
Masters and doctoral graduate students in any field of historical study are invited to submit proposals to present individual research papers at Loyola’s Eleventh Annual History Graduate Student Conference. Panel applications and individual papers focusing on borderlands and transnational studies, urban history, gender history, and public history are especially encouraged. We also welcome papers about history projects in the digital humanities. The goal of this conference is to provide an opportunity for students to gain experience presenting original research projects and to receive feedback from their peers on their work.
Certificates will be awarded to the top three conference presentations.
Individual proposals should include: submitter’s name, contact information, institutional affiliation(s), a one page abstract of the paper (with a title), and a sentence listing up to three…
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