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. Overhead projector transparency of a map City of the city of Topeka, Kansas, and Vicinity.
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. The legend marks all boundaries and schools in Topeka and surrounding vicinity.
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. The map shows Proposed Junior High School Attendance Areas for Topeka Public Schools for 1974-1975. William Lamson colored each area with pens and marked the schools.
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. William Lamson used circle-shaped stickers to mark the locations of several schools on the map.
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. The map includes hand drawn neighborhood and school district boundary markers by William Lamson.
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. The map includes hand drawn markings by William Lamson that mark different schools, homes, and sections of neighborhoods.
This print by Bennie Settles shows a mother and child standing in a field and feeding chickens and other birds. Settles' illustration of seeds is reminiscent of the way John Biggers paints seeds in his mural "Web of Life." Settles' work can be recognized by the power imbued in his careful portrayal of Black hair.
Lois Mailou Jones was an artist and art educator known for her costumes, textile designs, watercolors, paintings, and collages. Old House Near Frederick, Virginia depicts a slightly dilapidated house near Frederick, VA, a county about 50 miles from Washington, D.C., in watercolor. There are two children on the porch and two children and a chicken.
The print by Booker shows a rural landscape featuring a small, neglected house. A tire swing and clothesline hang from the two trees. The area appears not to be frequented by people, as suggested by the boarded window, overgrown weeds, and mushrooms.
Dr. Eddie Jordan, Sr. was a Southern artist from Wichita Falls, TX. Old Slave is a granite sculpture depicting an elderly Black man. The subject has a full, long beard and is smoking a pipe.
Donato’s painting portrays an elderly woman feeding hungry birds. This particular geometric style of painting is characteristic of students of Dr. Biggers who attended Texas Southern in the mid-to-late 1970s. The mother-child relationship is a common motif in the artwork of TSU students, usually a human mother and child or an animal mother and child. This painting seems to be unique in its depiction of a cross-species maternal relationship.
Sifuentes’ print shows a series of shotgun houses. The composition portrays Oleander Homes, a public housing complex in Galveston, Texas, the artist's hometown. The complex was destroyed by Hurricane Ike in 2008 and was rebuilt and reopened in September 2024. Shotgun houses and urban environments are common settings for Texas Southern student artworks.
Clothing worn by FAMU alumnus, Captain James L. Moran when deployed to Honduras, Central America. The mission was called in Spanish, "Ahaus Tara Dos" (Big Pine Two). Captain Moran was tasked with the construction of housing for military personnel and a temporary C 130 Aircraft Runway to deliver supplies and transporting of military personnel.
Parson’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.
A newspaper article from The Black Panther by Kathleen Cleaver about her relationship with her then-husband Eldridge Cleaver and the legal issues he faced after an April 6, 1968, shootout with the police in Oakland, California. It is noted at the end of the article that it was reprinted from Ramparts Magazine.
A journal article originally published in The Black Scholar in 1972. In the article, former Black Panther Eldridge Cleaver writes about Black liberation and the lumpenproletariat. Marx and Engels identified the lumpen as the underclass devoid of class consciousness. Cleaver, however, argues that the class can be organized and used in the movement.
A short essay about the revolutionary killing of cops. The author gives two recent examples of revolutionaries killing cops, saying the killers are urban guerillas who constitute the military arm of the Black Liberation Army (BLA). The tagline of the essay is “All Power to the New Urban Guerilla, War to the End.”
Hall's colorful painting highlights the view of a busy street corner. The main figure walks through the scene with tense shoulders and a balled fist, with a crowd of people lining the background. Graffiti, dice, and litter are seen on the street, sidewalk, and walls. This may be a depiction of Hall’s experiences growing up in Sunnyside, a historically Black neighborhood in southeast Houston.
The artwork and advertisement in the newspaper The Black Panther for a series of articles titled “On the Ideology of the Black Panther Party” by Eldridge Cleaver. At the time, Cleaver was serving as Minister of Information for the Black Panther Party in Oakland, California.
This mural reflects themes of emancipation and progress. The figure of a Black man raises his fist, while broken chains dangle from his waist. The bales of cotton and chains allude to slavery. Black men in various professions represent changes brought by emancipation.
These images were featured in the 1978 Rattler Yearbook. It shows the transition of Florida A&M president Dr. Benjamin L. Perry to new president Dr. Walter L. Smith. Perry is seen singing the FAMU Alma Mater while Smith strolls around campus with faculty member Dr. Finley.
Nuh Abdul Qaiyum, who is imprisoned, is writing to reassure Frankye Adams-Johnson (Malika) of his love for her regardless of her pregnancy. He goes on to explain the things people tell him and the evil that comes for them. He tells her that they will remain strong in faith and in public.
Frank W. Neal was a multidisciplinary artist born in Texas but raised in New York City. Oppression depicts a child watching a weary woman sitting at a table. The woman is at the table, resting her head in her hands in a yellow shirt. The child and the house's interior, including a vanity, is sepia-toned.
A List of interviews conducted as part of the "Good Old Days" Oral History Project. Each entry in the bibliography includes the name of the interviewee as well as biographical information, interview date, interviewer name, length of interview, and catalog number.
Materials from an oral history workshop held at Jackson State University in conjunction with the Clinton Project Oral History Collection. Includes staff handbook, reading assignments, and schedules.
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. A court order dismissing a plaintiff (name is redacted because they are a minor) and affirming a $19,500 plus costs settlement for the plaintiff.
This collection holds a graphic of the FAMU institutional leadership hierarchy and an attached letter between President George W. Gore, Jr. and Dr. B. L. Perry, Jr., dated November 29, 1967. The graphic breaks down the organization of leadership and lists each role’s title and the offices they oversee/report to.
These original Civil War bullets serve as tangible reminders of the intense conflict that defined a nation divided. Each bullet reflects the technology of the era and the harsh realities faced by soldiers on the battlefield. Collected from various historic sites, they illustrate the significant role of firearms in shaping military strategies.
These original Civil War cannonballs exemplify the artillery used during one of America’s most tumultuous periods. Crafted from iron, they were designed for devastating impact in battles, symbolizing the intensity and destruction of war.
This original Civil War musket, complete with a strap, represents the military history and conflicts that shaped America during the 19th century. Crafted for accuracy and durability, the musket served soldiers on both sides of the war, symbolizing the struggle for freedom and unity.
