Pictured here, left to right, are Texas Southern art alumni Bert Samples, John C. Davis, Harvey Johnson, Leon Renfro, former art student Rickey Donato, and Professor Carroll Harris Simms walking on the campus of TSU. Johnson and Renfro would later go on to teach art at TSU.
A photo taken by C.M. Battey showng the early years of Tuskegee University. This is an image of Black female students learning the skill to preserve products in a can.
This photograph shows three students sleeping on a couch in the lounge of Texas Southern University’s John T. Biggers Art Center. Captured by longtime campus photographer Earlie Hudnall Jr., the students rest while Oliver Parson’s The Crucifix (Judas) hangs behind them. Selections from the Permanent Collection are displayed in the art building on a rotating basis. Hudnall was a student, mentee, and friend of Dr. Biggers.
Washington’s landscape painting shows a suburban setting, with a paved road, low homes, and a mix of palm and deciduous trees. Washington grew up in Port Arthur, Texas, a small oil city along the Gulf Coast. This scene is perhaps reminiscent of Washington’s home and early life. Dr. John Biggers encouraged Texas Southern student artists to create art based on what they saw – perhaps this instruction inspired Washington’s painting.
This drawing by Oliver Parson shows a group of emaciated children seated on a checkerboard patterned floor. There is also a chick, just hatched from its egg, that seems to be struggling to survive. Parson has an incredible talent for conveying powerful emotions in his works. The checkerboard and other sacred geometry imagery appear frequently in the works of Dr. Biggers's students.
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 paper is a full summary of the case up to December 1986. Includes some handwritten notes from 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. A document summarizing minutes from meetings of the Topeka School Board from 1956-1979.
“Sun Stool,” created by Anthony Haynes, resembles an Ashanti stool, a seat for royalty of the Ashanti Empire. The sculpture is decorated with spiral embellishments, triangles, moons, and other indentations. Facial features are also included at the front head of the stool; the rear face of the stool resembles a baboon's face.
Charles E. Haines was an artist from Indianapolis, IN. Sunday Morning is an urban cityscape under a bright blue sky. In the foreground of the piece is an elevated railway and residential buildings, In the background is a red brick building and a church's spire.
An invitation given from Chaplain Andrew L. Johnson to Reverend Andrew Young inviting him to lead Sunday Worship on 11/16/1972 and provide an honorarium of $125.
Douglas Anderson served in the Mississippi House of Representatives from 1976-1980 and the state Senate from 1980-1992. He was one the first four African Americans elected to the Mississippi Legislature in the 20th century, after Robert Clark in 1967. He details his experiences while on various committees and working with Robert Clark.
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. Supplemental memorandum from the plaintiff attorney team to the court in support of the plaintiffs’ prior motion to compel evidence from the defendants.
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. Supplemental document from the defense that updates answers to several questions posed by the plaintiff team. Subjects include school boundary changes and more.
A white button calling for support of CUNY (City University of New York). CUNY was founded in 1960 when several other New York schools were merged into what was initially called the Municipal College System of the City of New York. Throughout the 1960s, CUNY was home to several political and social protests and demonstrations.
Under President Gore's administration, the Supreme Court of Florida held hearings on May 16, 1960, for six FAMU students charged with disturbing the peace through riots and assembly. The students pleaded not guilty, and the court examined the legality of their actions in the context of campus unrest during this period.
Focusing on the Sterling Student Life Center, the artist captures the lively activities of students and reflects the importance of Black fraternities and sororities in HBCU student life. Realism is paired with the surreal imagery of fantastic figures dancing around the music blasting from a boombox.
A collection of survivor affidavits from the Rosewood massacre, detailing approved and denied claims, interviews, and chilling accounts of the tragedy, along with reports of the deep community bonds of the all-Black town before its destruction.
This 1994 newspaper article features a survivor of the Rosewood Massacre who received restitution from the government. Previously knowing nothing about the plan to compensate victims until reading about it in the Palm Beach Post, Robie Mortin, 79, plans to retire from her job as a home-care nurse and go into volunteer work with children.
Susie Noel has lived in the Farish Street District since 1922. She talks about her experiences with the NAACP and the violence against Black people in the district during the Civil Rights Movement. She recounts her relationships with some of the Freedom Riders. She also talks about the different businesses and people in the district from the past.
Charles W. Stallings was a painter, printmaker, sculptor, and educator from Gary, IN. Swamp Fever is a print of two swamp creatures. Stallings uses stark black, red, and green lines and shadows to create cartoon-like renditions of swamp creatures with shocked expressions.
This print by Harry Vital shows a woman in a swimsuit tilting her head upwards. Dr. John T. Biggers taught students the craft of printmaking while he was a professor at Texas Southern University. Vital followed in Biggers' footsteps and became a longtime art professor at TSU.
Sworn statements from Rosewood survivors and descendants detailing personal experiences of the massacre and its aftermath. These statements served as vital evidence for compensation claims and provided insight into the lasting consequences faced by families affected by the tragedy.
