Documents listing last names of Rosewood descendants from the Fourteenth and Fifteenth U.S. Census. These records were essential in establishing population numbers and verifying residency in 1923, serving as key evidence for families seeking justice and compensation following the Rosewood Massacre.
Richard Dempsey was a painter known for his abstractions and portraits of prominent African American leaders from Washington, D.C. Cathedral and Choir is an impressionist depiction of the inside of a church. The yellow brushstrokes create a tall organ alongside stained glass; the layered reds, blues, and black show the congregation and choir.
Leonard Jones was an artist from Winston-Salem, N.C. Cathedral is a cubist depiction of a cathedral and the town surrounding it. Jones uses a variety of light and dark colors that resemble the aesthetic of stained glass.
This maquette, created by an unknown Texas Southern University art student, shows a feline creature at attention. There are various swirl patterns and textures on the figure. The swirls are a required component for the maquette project, as Carroll Harris Simms pushed his students to richly embellish their works.
The vintage "Black Jockey Boys" bank is a collectible item depicting a stereotype of African American jockeys, often characterized by exaggerated features and playful expressions. While intended as a whimsical decoration, it reflects the racial caricatures prevalent in the early 20th century.
Attorney Carsie Hall moved to Jackson in 1921 to attend Jackson College. He passed the bar exam in 1953 and operated a law firm in the Farish Street District. He talks about a case he worked with the Freedom Marchers during the Civil Rights Movement. He discusses the effect of desegregation on Black businesses and current revitalization efforts.
Charoennimuang’s print shows three women wearing babies on their backs and carrying baskets atop their heads. Two of the women’s faces are turned away from the viewer, while the closest gazes back fiercely. All three women’s hair is braided. This print highlights some of the varied and essential types of labor that women carry out.
This photograph shows a young Carroll Harris Simms, with many of his sculptures, as an art student at Cranbrook Academy of Art. Simms received his BFA and MFA from Cranbrook, where he was the first African American graduate. Simms recalled the way student and faculty advocates helped him integrate the school. In 1950, Simms came to Texas Southern to help Dr. John T. Biggers run the art department; Simms taught pottery, sculpture, ceramics, and jewelry making classes.
Carrie Washington was born in 1895 and moved to the Farish Street District in 1933 and has lived there since. Ms. Washington talks about her time in the district and her experiences working in the homes of white people. She also talks about businesses and buildings in the district and the Great Mississippi Flood of 1927.
Within the documents Carrie P. Meek held were racist letters sent to her, like this one. This letter made inflammatory, discriminating, and disparaging comments about Black men, calling them “brutes” and comparing them to “thugs.” It also depicted a hand-drawn racist caricature of a tribal African holding a bloody, severed white person’s head.
In 1995, G. Powell, III, wrote a letter to U.S. House Rep. Carrie P. Meek filled with disparaging and discriminatory comments. It is hard to determine who exactly Powell was. Still, the document alone shows how much racism the first African American woman elected to represent Florida in the U.S. Congress since the Reconstruction era received.
Carolyn Cannon Lindsey attended Smith Robertson School as an elementary student beginning in 1952. At the school she completed 1st, 2nd, 3rd, 5th, and 8th grades. She discusses the segregation of schools during that time. She also recalls some of her teachers and fondest memories of her time as a student there.
Carolyn Parker began working with the Child Development Group of Mississippi (CDGM) in 1966 after years of working clerical jobs for different human rights organizations. She talks about her work in the Civil Rights Movement and the role of community organization in the beginning of Head Start.
Mr. Myers was the owner of Myers Coffee Company on Farish Street. He talks about his business as well as other businesses in the district and breaks down the different sections of the neighborhood.
A card from Frankye Adams-Johnson (Malika) to her husband, Nuh Abdul Qaiyum, who is imprisoned. The front of the card is a depiction of a bridge. She writes of the beauty of Black and imagines a day where there will be no fight, and they can be the beautiful people they truly are.
A card from Frankye Adams-Johnson (Malika) to her husband, Nuh Abdul Qaiyum, who was sentenced to prison in 1975 for a 1971 Black Liberation Army (BLA) connected shooting of police officers in New York. She relates her desire to become a complete person and expresses the need for mutual love and effort for her and her husband to last together.
A card from fellow Black revolutionary and friend of Frankye Adams-Johnson (Malika), Curtis. The front of the card is a depiction of a man with a gun and text explaining that only through the gun can freedom be realized by the Black people. On the back of the card he writes “We send you this with revolutionary love and concern, Curtis.”
A card from Ashanti Alston, a Black Liberation Army (BLA) member who was imprisoned for 11 years for a robbery to raise money for the BLA, to an unknown recipient. A collage of Malcolm X photos is on the cover. He updates the recipient on a pregnancy and marriage taking place and informs them of his schedule and admits to procrastination.
A newspaper article from The Black Panther arguing that the greed inherent in capitalism leads to racism which leads to a fascist state defined by police brutality on Black people. The author writes that capitalism is “a parasitic growth that devours whole countries,” and therefore police brutality is a form of genocidal extermination.
Case Data and Exhibits for Brown III, a relitigation of Brown v. Topeka Board of Education (1954) that corrected resegregation issues caused by open enrollment school choice in 1992. An April 1976 report by Ted Clark that explains the facilities improvements for Topeka Public Schools that were prioritized and funded in 1975 and 1976.
The Florida Times Union captured the lively campus atmosphere at FAMC, highlighting the 75-member band led by W. P. Foster and the newly constructed Coleman Library, honoring Samuel H. Coleman. The article also detailed the costs of Diamond Hall, the dining hall, McQuinn Hall, and the infirmary.
Settles, a student of Carroll Harris Simms, created the sculpture “Camel” in 1978. The creation of a large terracotta sculpture was a part of each art student's curriculum. The design features include a huge hump and embellishments, including spirals, on the exterior. Sculptures lacking sufficient ornamentation were often not retained for the collection.
Hubbard’s senior notebook includes his written philosophy of art, photographs of the artist’s works and his process, and a copy of his senior exhibition brochure. As a part of the Texas Southern art curriculum under Dr. John T. Biggers and Professor Carroll Harris Simms, students would create these notebooks to explain their artistry and showcase the works they created as students.
Mr. Blythe Andrews criticized President W. H. Gray's speech at the Tampa Urban League, claiming he undermined the NAACP’s work. Andrews condemned the bigotry of "white friends" and urged Black people to match their white counterparts politically, citing a lawsuit of two Pensacola Negroes falsely registered as Democrats.
This rare mask could belong to the Gurunsi, Boba, or Bwa ethnic groups in Burkina Faso, one of the oldest agricultural groups in that region. They believed in strictly preserving the spirits, which brought balance to a world humans disturb. Each mask is unique, channeling these spirits for performances, celebrations, and harvest rituals.
A side-view photograph of businesses on N. Farish Street in the Farish Street Historic District. At the time of the photograph, the businesses were closed and the building was in disrepair.
