Jimmie Mosely was an artist, navyman, and art professor from Lakeland, FL. Johannesburg is an abstract watercolor depiction of African people traveling through the street. Mosely uses bright colors that emphasize the vibrance of South African culture.
This image was captured by Earlie Hudnall, Jr., longtime TSU campus photographer and student of Dr. Biggers. This photo is of Biggers’ mural Family Unity, located on TSU’s campus in the student center dining hall. The mural was commissioned by the student body in the mid-1970s, and reflects themes of family, ancestry, and rural & urban house structures.
This photograph by Earlie Hudnall, Jr. shows John Biggers seated with boys on a porch. The setting is Laurel, MS, where the men stopped during a road trip on their way to Gastonia, North Carolina, Biggers' hometown. Lacking proper materials, Hudnall stored the negative in water in a McDonald's cup until he could develop it.
This photograph by Earlie Hudnall, Jr. shows John Biggers seated on a bench near Texas Southern's Fairchild Building. He holds a mother & child sculpture in his left hand and an Aunt Dicy sculpture in his right. A mammy doll is seen to his left on the ground. In 1955, Biggers illustrated J. Mason Brewer's version of the African-American folktale, Aunt Dicy Tales: Snuff-Dipping Tales of the Texas Negro.
This photograph shows, from left to right, Dr. John T. Biggers, Dr. Alvia J. Wardlaw, and Roy DeCarava. Wardlaw, the founder of the University Museum at Texas Southern, previously served as a curator at the Museum of Fine Arts, Houston, where in 1975 she organized the first retrospective of DeCarava’s photographs. Biggers and DeCarava were mutual admirers; DeCarava appreciated Biggers’ sense of African history, and Biggers praised DeCarava’s attention to the common man.
Charles White was a painter, printmaker, muralist, and educator known for his stylistic approach to African American subjects from Chicago, IL. John Brown is a print portrait of its namesake. He was a prominent member of the American abolitionist movement. The print portrays Brown in dark hues as he stares off into the distance.
A commentary on the conflict between technology and progress, history and culture, Davis painted this mural in response to the destruction of several Hannah Hall murals to create windows into a new computer lab. Davis’ own mural was later damaged by subsequent construction, as foreseen in its design.
Davis drew his black-and-white self portrait during his time as an art student at Texas Southern University. He drew himself clean-shaven with long sideburns. His use of charcoal creates the smooth and balanced shading seen in this piece.The artist also completed a terracotta self portrait of his head. Self-portraits in drawing classes remain a part of the art major curriculum at TSU.
This is a brochure for Davis’ senior art exhibition. The culmination of the Texas Southern art curriculum is a senior exhibition where students showcase artwork created over the course of their undergraduate studies. The brochure features a self-portrait of Davis, a brief biography, a catalog of the artwork featured in the exhibition, and a photo of one of his artworks.
A button with a black and white photo of John Carlos and Tommie Smith giving the Black Power salute at the 1968 Olympics in Mexico City, Mexico after winning bronze and gold medals, respectively, in the 200 meter running event. The salute is considered one of the most overtly political statements in the history of the modern Olympic Games.
A newspaper article from The Black Panther about the free breakfast program in New Haven, Connecticut. The first free breakfast program in New Haven began on October 8, 1969, and is named after John Huggins, a Black Panther originally from New Haven who was murdered on January 17, 1969, in Los Angeles, California.
This photograph by Earlie Hudnall, Jr. shows John Biggers being inducted into the Order of Kilimanjaro, an award given to him by the African Union at an event in Houston. Africa and African roots were essential parts of Biggers' art and teachings. He is often credited as one of the first African American artists to visit Africa and begin to incorporate African art and traditions into his art.
In this interview, Texas Southern art alumnus Johnetta Tinker discusses her experiences as a student in the class of 1972. As a student, she worked closely with Dr. Biggers and would sneak into his studio to watch him work. She recalls a strong sense of camaraderie with her classmates. After TSU, she was mentored by Boston artist Allen Crite.
Tinker's painting is a self-portrait of the artist wearing her hair in an afro and a tunic draped over one shoulder. A golden halo emanates from behind her afro, attracting the viewer's eye to the center. As a part of the art curriculum, students would create various self-portraits. Tinker continues to practice art and is now based in Boston.
Jones' self-portrait has a piercing facial expression and displays protruding veins near the brow line and a direct stare from the eyes. The crown is adorned with a spider and the outline of a web along the scalp, along with a spiral near the left ear. The design may have been inspired by Spiderman, who debuted in comics 8 years earlier.
This bust is a self-portrait of the artist. Jones depicted his face with sharp features, high cheekbones, and protruding veins near the brow line. The crown is adorned with spiral motifs, dots, and rolled clay. Atop is a shrine structure, with a turtle within. Turtles and tortoises are often used to symbolize longevity. Students were encouraged to adorn their self-portraits with additional embellishments.
Jones’ 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.
Johnny Palmer was appointed in 1980 as the first Black sergeant at arms at the Mississippi State Capitol. He had worked at the House as a maintenance and inventory supervisor since 1959. He details the challenges that Robert Clark faced and also talks about the dynamics that the presidents of the major Black colleges had with the House.
This collection is a series of correspondences between Florida A&M leadership and G. Derwood Baker, the director of the Executive Committee of the Joint Council on Economic Education. What was meant to be a one-time, one-year grant awarded to Florida A&M College became a full-length educational program due to George W. Gore’s help and insistence.
This document is a revised, detailed abstract of the “Proposal for Institution of a Florida State University- Florida A&M University Basic Medical Sciences Program,” sent to members of the Planning Committee of the Preclinical Medical Program. It detailed the addition of a joint medical program between FAMU and FSU.
The red and yellow vintage Jolly Negro bank features a caricature of a smiling Black man, embodying the racially insensitive stereotypes prevalent in early 20th-century America. Designed as a coin bank, it reflects the era's problematic representation of African Americans in popular culture.
The vintage black and red Jolly Negro bank depicts a smiling Black figure, exemplifying the racially insensitive stereotypes common in early 20th-century America. This ceramic bank was designed to encourage saving while reflecting a troubling portrayal of African Americans in popular culture.
The vintage red and white Jolly Negro bank features a cheerful caricature of a Black man, reflecting the racial stereotypes common in early 20th-century American culture. This coin bank, characterized by its bright colors and playful design, embodies the problematic portrayals of African Americans during that time
This photograph depicts two unidentified men with Joseph E. Gibbs, a faculty member at Florida A&M University’s original College of Law, World War II veteran, and YMCA executive director. The Florida A&M Foundation awarded Gibbs a plaque on June 30, 1972, for “His Exceptional & Meritorious Service to Florida A. & M. University.”
Josephine Tibbs was born in Jackson and moved to the Farish Street District in 1910. Mrs. Tibbs talks about her early school days at Smith Robertson School and her religious activities. She also talks about some of the businesses in the district and some of the Black doctors who practiced on Farish Street.
A journal written by former Black Panther Party member and former Jackson State University professor Frankye Adams-Johnson (Malika) on unknown dates. Items in the journal include: prayers; writing in Arabic and lists of Islamic terms; rough draft of a resume for a prospective job in Philadelphia, PA; a poem; and a note to her imprisoned husband.
A journal written by Frankye Adam-Johnson (Malika)’s husband, Nuh Abdul Qaiyum, during unknown dates. Nuh Abdul Qaiyum was a former member of the Black Panther Party and Black Liberation Army and was imprisoned in 1975. He writes about a variety of topics, including daily rituals; religions; languages and alphabets; and politics and philosophy.
A journal written by Frankye Adam-Johnson (Malika)’s husband, former member of the Black Panther Party and Black Liberation Army Nuh Abdul Qaiyum, from 1975-1977 while imprisoned. Most of the pages are original poetry. He also copied some poems and songs by other writers. There are also several pages of Suras and other verses from the Quran.
A journal written by Nuh Abdul Qaiyum while imprisoned and later by Frankye Adams-Johnson (Malika), both former members of the Black Panther Party and the Black Liberation Army. Washington wrote poetry and essays and thoughts on philosophy and religion. Frankye Adams-Johnson (Malika) wrote poetry; drafts of letters; and meeting agendas.
Newspaper article from The News Tribune about Superior Court Judge Theodore Appleby barring the testimony of an FBI agent and senator. Chief defense attorney William Kunstler wanted to use the testimony to establish a police conspiracy against Black militants in the trial of Assata Shakur (JoAnne Chesimard) for the 1973 killing of a state trooper.
