During President Gore's administration, the USDA pushed for increased Negro participation in agricultural decision-making, aiming to dismantle racial inequalities. Efforts included expanding access to resources, farming support, and programs like food stamps and school lunch initiatives for Negroes and other minorities across the South.
Hayward Oubre was a multimedia artist and educator from New Orleans, LA. Equivocal Fox is an abstract depiction of a fox using polygonal shapes. The red and blue forms overlap throughout the painting. The entire artwork is painted with a bumpy texture, which creates a slight relief sculpture effect.
Erma Sanders served on the Head Start board and worked with the first Head Start program that was established in Edwards, Mississippi, through Child Development Group of Mississippi (CDGM). She discusses the differences between the programs in Edwards and Jackson, Mississippi, and the ways that CDGM handled finding teachers for Head Start classes.
Erma Gordon's self-portrait shows the artist from three different angles. The three profiles are tied together by a light, almost translucent fabric that is worn by the frontmost figure and held by the others. This motif is used repeatedly by the artist, including in her mural. Two boys move fluidly and playfully through the background.
Ernest Luckett moved to the Farish Street District in 1922 at the age of 6 to attend Smith Robertson School. Mr. Luckett talks about his time as a student at the school and his admiration of a teacher. He discusses his relationship with P.G. Cooper, a lawyer on Farish Street who collected rent from tenants in the area for one of his clients.
These rare 1832 slave documents from the Abraham Cabell estate provide detailed records of all of the slaves on the property and other purchases that were made. The list includes names, household items, property, and prices for everything.
B. W. Taylor’s Estate Paper’s included a legal document that authorized the seizure and sale of an enslaved person to satisfy a debt or court judgment known as a Writ of Execution. This rare record illustrates the legal system’s role in treating enslaved individuals as property through the intersection of slavery and financial transactions.
These rare 1843 slave documents from the deceased Edmund Brooke estate provide an itemized list of all of the slaves on the property. This list includes gender and age identifiers before each of their names, along with the price for each person.
Rare 1850 slavery documents from the Ellen Brockenborough estate include a will and receipts of transfer between family members. These records provide critical insight into the legal and economic treatment of enslaved people as property, revealing the deep entrenchment of slavery in family estates.
These rare 1841 slavery documents detail the hiring of Georg A. Croom's enslaved individuals, providing a unique glimpse into the leasing practices of the time. These records include contracts and financial arrangements, offering insight into the economic exploitation of enslaved labor and the broader system of slavery in the antebellum South.
This document is an account of the enslaved African persons belonging to John Breto, Jr. It contains a list of their names and prices, calculated on December 30, 1848, for the year 1849.
Estate papers of John Miller include his will and testament, detailing the distribution of property, including enslaved individuals. These documents provide significant insight into the legal processes surrounding inheritance and the treatment of enslaved people as assets, showcasing the economic reliance on slavery in the antebellum South.
This document offers an inventory of the personal property belonging to the estate of John P. Duval. It contains a list of names of enslaved people and their prices.
The 1854 petition by John Winer outlines the division of his deceased mother’s property, including employment of enslaved persons, with his sister. This document reveals the complexities of familial inheritance, the management of enslaved labor, and the economic implications of slavery within family dynamics.
These rare 1853 slavery documents from the estate of Nathan Holt in Leon County detail the inventory, valuation, and transfer of enslaved individuals. These records offer crucial insights into the management and distribution of enslaved labor within an estate, reflecting the economic and social structures of slavery in mid-19th century Florida.
These rare 1862 slave documents from the Richard Call estate provide a detailed account of enslaved individuals at the Lake Jackson Plantation in Florida. These records include names, ages, and roles of enslaved people, offering critical insight into the operations of the estate and the broader system of slavery during the Civil War era.
The rare 1863 will and testament from Richard Call Keith provide documentation of his wishes to pass down his property. This document includes not only a written statement but also a list of all of the slaves he had ownership of. The list includes each of their names, ages, health conditions, and prices.
This rare 1850 slave document from Robert Larkin's estate discusses the manner of the estate's distribution. The ledgers include descriptions and price breakdowns.
The Gadsden County court administered the estate of Titus Farr. The administration detailed Farr's assets, reflecting the economic reliance on enslaved labor in the region. This process underscored the legal framework of property management, where enslaved people were treated as assets and sold to settle debts.
Esther Solomon Howard was born in the Farish Street District in 1915. Ms. Howard talks about her childhood in the Farish Street District, including attending Smith Robertson School, Central Church, and the Young Women’s Christian Association (Y.W.C.A.). She also talks extensively about her husband. The transcript is edited with handwritten notes.
Romeyn van Vleck Lippman was a 19th-century painter and educator. Eternal depicts a family portrait of three generations. Lippman illustrates the immortality of humanity through familial legacies.
Ethel George McCallister recalls many memories from her childhood, the plantation she lived and worked on, family, school, and her experiences in the church. She talks about her social life when she was young, and the relationships between the farmers, her marriage, and starting a family. She ends by talking about her family history.
Eunice Hicks began work at Head Start in 1965 as a social worker because of her degree in Sociology. She goes through her career and the different positions she held in the organization and the different centers she worked in. The interview is incomplete because Side A was recorded over.
Bilal’s senior notebook includes her written philosophy of art, photographs of the artist’s works, and a copy of her 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.
Foster’s painting is inspired by Charles White’s Sound of Silence. Third Ward is the historically Black neighborhood of Houston that Texas Southern calls home. Where White’s original features a seashell, Foster substitutes a rowhouse, the style of homes that are the heart of Third Ward. Dr. John T. Biggers, founder of Texas Southern's art department, studied under White at Hampton University.
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. This was produced by defense team expert witness R. Harrison Hickman. He concludes that people didn’t equate a school being “mainly white” with it being better.
The graphic strength of Oliver's portraits is clearly evident in these two panels. By limiting his palette to black and white, the artist underscores the powerful gazes of the figures. Because of his enthusiasm and talent, Oliver was allowed to create additional murals when empty spaces were available.
10th Architectual section drawing of the White Hall at Tuskegee Institute 1st and 2nd Floor plans. Drawing also shows work schedule for the renovations.
