DOCSLIB.ORG

17372.Pdf (10.71

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

“‘A Fortress Where Beauty is Cherished, Protected, and Cultivated’: The South Side Community Art Center, Chicago, Illinois, 1940-1991” A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, & Planning by Auna R. Hearne B.A., University of Memphis May 2009 Committee Chair: Theresa Leininger-Miller, Ph.D. Abstract Since opening in 1940, the South Side Community Art Center (SSCAC) in Chicago, Illinois has continuously met the need for a creative space in the local African American visual arts community. I support this assertion by focusing on three aspects of the institution’s first fifty years: 1) the center as provider of education and access to the visual arts, 2) the center as an inclusive exhibition and market place, and 3) the center as a site for community building. The SSCAC has demonstrated a historical and contemporary commitment to enabling the production and appreciation of art through access and education, as evidenced by an extensive arts curriculum, its alumni and collection, and a strong exhibition history. I analyze how the SSCAC’s programs and exhibitions combatted discriminatory and oppressive practices of Chicago’s museums and academic institutions. Established by the Works Progress Administration (WPA), the center and its programs were components of the federal government’s strategy to restore the nation’s economy by employing artists and encouraging community participation in the development of culture. Chicago, especially its predominantly black south side, was a fitting location for an art center as it had been founded as a feasible cradle of creative expression long before the government considered the area. In the first chapter, I provide an abridged history of the forces present in Chicago before the SSCAC came to be a significant African American cultural presence. In chapters two through five, I provide an account of the SSCAC’s inception through its fiftieth anniversary. After the government withdrew fiduciary support in 1944, the Bronzeville community developed many solutions to keep the doors open. The community campaign included the inauguration of ii the wildly popular and lucrative Artists’ and Models’ Balls. Events like these enabled enable artistic production to continue and allowed patrons and residents to foster an appreciation for art. During the 1950s and early 1960s, Anti-Communist paranoia crippled operations and nearly led to the demise of the SSCAC while the Civil Rights and Black Power movements restored the center as a crucial site for cultural identity and sociopolitical organization and mobilization. In the late 1970s, the mass deindustrialization of Chicago led to a decline of the SSCAC’s host neighborhood and raised concerns about personal and institutional security. The election of Ronald Reagan in 1980 would create and amplify further problems for the SSCAC, as his administration’s policies reduced and cut funding to the arts. However, the community rallied to keep the center open for exhibitions and art classes. In this thesis, I substantiate the significance and vitality of this unique cultural institution with an appraisal of the SSCAC’s exhibition history and programs, as well as the impact of various efforts by the government, corporations, and individuals within the community. The SSCAC was instrumental in the creative development of not only internationally recognized artists such as Gordon Parks and Charles White, but for several generations of Chicago’s black artists, as well. The SSCAC provided an outlet for the creative expressions of a critically marginalized mass. iii iv Acknowledgements My first expressions of gratitude go to my parents, Archie and Garbo Hearne. Thank you for instilling in me an appreciation for African American history, culture, and art at an early age. I would also like to thank my siblings, Ambe, Archie IV, and Aja Nia, for their unwavering support. I hope that my efforts motivate you to persevere through all adversity to achieve your dreams. It also goes without saying that my extended family has always been there with food, money, and words of support. My graduate career and this thesis would not have been possible without the support of the School of Art faculty and staff at the University of Cincinnati. Dr. Leininger-Miller has an extremely patient and understanding thesis adviser throughout this process. I applied and came to UC because of her and her scholarship and I do not regret my decision at all. Dr. Mikiko Hirayama and Dr. Earl Wright II also deserve recognition and thanks for donating their time as committee members. Thanks also to Dr. Nikki Taylor for kindly offering to serve as an alternate reader. Visual Resources Librarian and my graduate assistantship supervisor Elizabeth Meyer was extremely accommodating and encouraging as I struggled to balance coursework, my assistantship, teaching, and this study. My studies at the University of Cincinnati would have not been possible without the support of the Albert C. Yates Fellowship. Special recognition to Faheem Majeed and Diane Dinkins-Carr, former directors of the SSCAC, and Carmella Grady, for allowing me access to the center’s archives. I am grateful to the librarians at the University of Cincinnati and the Carter G. Woodson Regional Library in Chicago for research support and extending borrowing privileges. My friends have been my backbone through this entire process. While I do not have the space to mention them all, honorable mentions to fellow UC grad students (now graduates) Dr. Ciera Graham, Felicia Anderson, and Erin Hackmann for motivation. Thank v you to my Chicago affiliates Courtney Cobbs, Andrea Bell, Jeremy K. Smith, and Skyla Hearn. Jo Anne Moore, I cannot thank you enough for holding on to my stuff for three long years and always being the voice of reason. To my best friends, Jacob Hall, Camielle Smith, and Shannon Polk, thank you for words of encouragement when I was ready to throw in the towel. I would also be remiss if I did not thank my team at the UT Austin Houston Admissions Center. Last, but certainly not least, boundless gratitude to Jennifer Brown. Thanks for the snacks, incense, hugs, and steadfast support. You showed me the meaning of unconditional love and I hope that I am reciprocating everyday. This thesis is dedicated to my great aunt Vivian E. Goodson (1924-2015) and SSCAC artist and historian. Dr. Margaret Taylor-Burroughs (1917-2010). Aunt Vivian, thank you for everything. My only regret is that I did not have an opportunity to meet Dr. Burroughs and present her with this thesis. I hope that I have done justice to the South Side Community Art Center’s amazing history. vi List of Illustrations Figure 1: Charles C. Dawson, cover of the “Negro in Art Week” program, Art Institute of Chicago, Chicago, 1927 Figure 2: Program cover, Artists’ & Models’ Ball, Savoy Ballroom, Chicago, 1939 Figure 3: Paul Colin, Black Thunder, 1927, lithograph, 19 ½” x 27 ½” Figure 4: Photograph, “The old Comiskey mansion at 3831 Michigan Avenue, Chicago, before it was transformed into an art center by a community anxious to learn more of art.” Figure 5: Exhibition catalogue cover, American Negro Exposition, Exhibition of The Art of the Negro American, Chicago, 1940 Figure 6: David Robbins, Students in a Free Art Class Sponsored by the Federal Art Project, photograph, 1938 Figure 7: Map of Traffic Redirection and Street Closings, Dedication of South Side Community Art Center Event, 1938 Figure 8: Photograph - Eleanor Roosevelt with Alain Locke and Peter Pollack at the South Side Community Art Center dedication ceremony, 1941 Figure 9: Dox Thrash, Boats at Night, 1936-37, aquatint, 7 ½” x 11 ½” Figure 10: Exhibition catalogue cover, Howard University Gallery of Art, Exhibition of Negro Artists of Chicago, Washington, D.C., February 1941 Figure 11: Exhibition catalogue cover, South Side Community Art Center, Sculpture Exhibition by Richmond Barthé, Chicago, April 1942 Figure 12: Exhibition catalogue page, South Side Community Art Center, Exhibition of Religious Art, Chicago, April 1942 Figure 13: Postcard, Dance Floor, Trianon Ballroom, Cottage Grove and East 62nd Street, Chicago, ca. 1935 Figure 14: Photograph, DuSable Museum, October 1961 Figure 15: Souvenir booklet, “Saint & Satyr” - 23rd Annual Artists’ & Models’ Costume Ball, November 30, 1963 Figure 16: Photograph, Organization of Black American Culture, The Wall of Respect Chicago, Illinois, 1967 vii Figure 17: Barbara Jones-Hogu, Relate To Our Heritage, n.d., serigraph, 28 ¾” x 37”, Collection of the South Side Community Art Center Figure 18: Photograph of artists at the South Side Community Art Center in Chicago, Illinois. “SSCAC, Black Heritage Exhibition,” August 18, 1968 Figure 19: “13 Demands, Submitted to Mr. Bates Lowery, Director of the Museum of Modern Art, by a group of artists and critics on January 28, 1969 Figure 20: Figure 20: Promotional card, “Black Expressions ’69, South Side Community Art Center, October 19 – November 2, 1969 Figure 21: Jeff Donaldson, Ala Shango, 1969, acrylic on Masonite, 38” x 28”, Collection of the South Side Community Art Center Figure 22: Photocopy of Sylvester Britton, Untitled, 1970, sketch, cover of “President’s Annual Report 1970” Figure 23: Promotional flyer, “Through Eyes of Blackness: A Photographic Exhibit by Four Chicago Area Photographers, South Side Community Art Center, June 17 – July 7, 1974 Figure
Recommended publications
  • Southeast Museum of Photography Preservation Assessment Project

    Southeast Museum of Photography Preservation Assessment Project

    PG-266669-19 Southeast Museum of Photography Preservation Assessment Project A. What activity or activities would the grant support? Support will fund three primary activities for the Southeast Museum of Photography Preservation Assessment Project: • A formal assessment of the photographs and photographic objects from the museum’s 4,500 piece collection, by a professional conservator of photographs. • In consultation with a professional conservator of photographs, the creation of a long-term preservation strategy for existing materials and future accessions. • In consultation with a professional conservator of photographs, the creation of a list of appropriate archival collections materials to reinforce existing collection materials and to support the care of future acquisitions. Through these activities, the Southeast Museum of Photography (SMP) aims to become better stewards of its cultural artifacts, ensuring the photographs and photographic materials in the museum’s care can be preserved and maintained in accordance with the highest of collections standards for future generations of researchers, educators, and museum visitors. B. What are the content and size of the humanities collections that are the focus of the project? The Museum houses 4,500 photographs dating from the mid-19th century to the present, 1,500 objects representing photographic processes such as photo transfer screen prints, photogravure prints, glass lantern slides, and 372 vintage or antique cameras. The photographic collection of SMP includes representatives from every major photographic process and the developments within those processes, including: tintypes, daguerreotypes, albumen prints, cyanotypes, gelatin silver prints, and C-prints. Highlights of the collection include: • Vintage and authorized edition prints from modern photography masters including: o Edward Weston: one of the foremost champions of highly detailed photographic images and the first American to receive a Guggenheim Fellowship.
  • Announcement

    Announcement

    Announcement 56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances.
  • The Federal Art Project and the Creation of Middlebrow Culture by Victoria Grieve (Urbana: University of Illinois Press, 2009

    The Federal Art Project and the Creation of Middlebrow Culture by Victoria Grieve (Urbana: University of Illinois Press, 2009

    REVIEWS 279 within a few years of reaching its previously excluded sectors of socie - height. McVeigh finds that infighting, ty. Their work is harder, as the popu - bad press, and political missteps prior lations they represent are usually to the 1924 presidential election all oppressed and thus have less access contributed to the Klan’s decline. By to financial and other resources to 1928, only a few hundred thousand fund their battles. These clear differ - members remained in the group. ences argue strongly for separate In a larger context, McVeigh’s analyses of social movements from work makes a strong case for why the right and the left. conservative and liberal social move - ments should be treated differently. HEIDI BEIRICH , who graduated from McVeigh rightly points out that con - Purdue University with a Ph.D. in servative social movements offer political science, is director of remedies for populations that have research for the Southern Poverty Law power, but believe they are being Center. She is the co-editor of Neo- challenged by changes in society. Confederacy: A Critical Introduction Because of this established power, (2008). social movements from the right tend to bring greater resources to bear on KEVIN HICKS , who graduated from their causes. Liberal social move - Purdue University with a Ph.D. in ments, on the other hand, look to English, is associate professor of Eng - expand opportunities and rights to lish at Alabama State University. The Federal Art Project and the Creation of Middlebrow Culture By Victoria Grieve (Urbana: University of Illinois Press, 2009. Pp. x, 299.
  • Download the Contributor's Manual

    Download the Contributor's Manual

    Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams.
  • The American Legion Magazine [Volume 27, No. 5 (November 1939)]

    The American Legion Magazine [Volume 27, No. 5 (November 1939)]

    : Famous Yachtsman calls Camels—The best cigarette buy" thfy burn longer, cooler, O J AND THAT'S IMPORTANT" SAYS JOHN S. D1CKKRSOX, JK. C Copyright, 1939, R. 1. Re olds ToWro Company. Winston-Sale me,s were fou "J to f . co„ la i„ ] , more '"!'acc° ue'ght than ,7 ^ the a, erage for the other 15 of the largest-selling NATURALLY, a cigarette noted For instance. "Jack" Dickerson brands! Camels horned lor it* generous content of bet- (above, left) in yachting 9 slou>er than , prominent any other brand tested-25% slower ter tobacco gives you better ciga- circles of the Eastern seaboard, says ^ than the avera,e„me„f lh elSo 1 herof,hel ar .„..,. rette value, doesn't it? Especially "Yacht racing is hobby of mine •elhng one brands- „, |„„,„„, „- on ; ^ the when thai same brand smokes longer, and you might call Camel cigarettes average, Camels give smokeSle equivalent of 5 extra slower — gives more smoking — than another. I turned to darnels because smokes per pack! In the the average of all the other 1 5 brands they burn longer, smoke milder. same tests, ^ Camels held their compared in laboratory tests! Yes, They go farther— give extra smoking 7 "*?M2«••«" the average time f'-r all the other brands. there is such a cigarette. Its name is and always have a fresh, appealing Camel. Full details are told at right flavor." Camels are mellow, fragrant MORE PLEASURE PER PUFF — the results of recent searching with the aroma of choice tobaccos in MORE PUFFS PER PACK! tests by impartial scientists.
  • © 2020 Kaitlyn Wentz All Rights Reserved

    © 2020 Kaitlyn Wentz All Rights Reserved

    © 2020 KAITLYN WENTZ ALL RIGHTS RESERVED ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION A Thesis PresenteD to The GraDuate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts KAITLYN WENTZ May, 2020 ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION Kaitlyn Wentz Thesis ApproveD: AccepteD: ______________________________ ___________________________ Advisor School Director James Slowiak Dr. Marc ReeD ______________________________ ___________________________ Committee Member Interim Dean of the College ArnolD Tunstall Dr. LinDa Subich ______________________________ ___________________________ Committee Member Acting Dean of the GraDuate Courtney Cable School Dr. Marnie SaunDers ___________________________ Date ii ABSTRACT In a time of constant threat to funDing, elimination of the National EnDowment, anD competition over resources, philanthropy in the arts anD culture sector is inDispensable to the vibrancy anD economic Development of a city’s core. The arts anD culture sector is consiDereD to take away from an economy’s financial resources. However, it is the exact opposite. It is a thriving sector that contributes to the economy by creating jobs, spenDing money at local businesses, anD bringing in cultural tourists. FreD BiDwell anD Rick Rogers have a long history of philanthropy in this sector, anD their DemonstrateD support has leD to efforts of revitalization, vibrancy, anD Dollars spent in the cities of Akron anD ClevelanD. This thesis explores the history, issues, and successes of the two cultural proDucers’ philanthropy efforts in the sector anD the impact that their support has brought to the Northeast Ohio region. iii TABLE OF CONTENTS CHAPTER I.
  • Hubert H. Harrison Papers, 1893-1927 MS# 1411

    Hubert H. Harrison Papers, 1893-1927 MS# 1411

    Hubert H. Harrison Papers, 1893-1927 MS# 1411 ©2007 Columbia University Libraries SUMMARY INFORMATION Creator Harrson, Hubert H. Title and dates Hubert H. Harrison Papers, 1893-1927 Abstract Size 23 linear ft. (19 doucument boxes; 7 record storage cartons; 1 flat box) Call number MS# 1411 Location Columbia University Butler Library, 6th Floor Rare Book and Manuscript Library 535 West 114th Street New York, NY 10027 Hubert H. Harrison Papers Languages of material English, French, Latin Biographical Note Born April 27, 1883, in Concordia, St. Croix, Danish West Indies, Hubert H. Harrison was a brilliant and influential writer, orator, educator, critic, and political activist in Harlem during the early decades of the 20th century. He played unique, signal roles, in what were the largest class radical movement (socialism) and the largest race radical movement (the New Negro/Garvey movement) of his era. Labor and civil rights activist A. Philip Randolph described him as “the father of Harlem radicalism” and historian Joel A. Rogers considered him “the foremost Afro-American intellect of his time” and “one of America’s greatest minds.” Following his December 17, 1927, death due to complications of an appendectomy, Harrison’s important contributions to intellectual and radical thought were much neglected. In 1900 Harrison moved to New York City where he worked low-paying jobs, attended high school, and became interested in freethought and socialism. His first of many published letters to the editor appeared in the New York Times in 1903. During his first decade in New York the autodidactic Harrison read and wrote constantly and was active in Black intellectual circles at St.
  • A History of Mixed-Race Women in the United States During the Early Twentieth Century

    A History of Mixed-Race Women in the United States During the Early Twentieth Century

    Of Double-Blooded Birth: A History of Mixed-Race Women in the United States during the Early Twentieth Century Jemma Grace Carter Thesis submitted for the degree of Doctor of Philosophy in American Studies at the University of East Anglia, School of Arts, Media, and American Studies January 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Often homogenised into broader narratives of African-American history, the historical experience of mixed-race women of black-white descent forms the central research focus of this thesis. Examining the lives of such women offers a valuable insight into how notions of race, class, gender and physical aesthetics were understood, articulated and negotiated throughout the United States during the early-twentieth century. Through an analysis of wide-ranging primary source material, from letters, diaries and autobiographies to advertisements, artwork and unpublished poetry, this thesis provides an interdisciplinary contribution to the field of Critical Mixed Race Studies, and African- American history. It builds on existing interpretations of the Harlem Renaissance by considering the significance of mixed-racial heritage on the formation of literature produced by key individuals over the period. Moreover, this research reveals that many of the visual and literary sources typically studied in isolation in fact informed one another, and had a profound impact on how factors such as beauty, citizenship, and respectability intersected, and specifically influenced the lives of mixed-race women.
  • 'They Made Gullah': Modernist Primitivists and The

    'They Made Gullah': Modernist Primitivists and The

    “ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” By Melissa L. Cooper A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Mia Bay and approved by New Brunswick, New Jersey January 2012 2012 Melissa L. Cooper ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION “ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” by Melissa L. Cooper Dissertation Director: Dr. Mia Bay ABSTRACT: The history of Sapelo Islanders in published works reveals a complex cast of characters, each one working through ideas about racial distinction and inheritance; African culture and spirituality; and the legacy of slavery during the most turbulent years in America’s race-making history. Feuding social scientists, adventure seeking journalists, amateur folklorists, and other writers, initiated and shaped the perception of Sapelo Islanders’ distinct connection to Africa during the 1920s and 1930s, and labeled them “Gullah.” These researchers characterized the “Gullah,” as being uniquely connected to their African past, and as a population among whom African “survivals” were readily observable. This dissertation argues that the popular view of Sapelo Islanders’ “uniqueness” was the product of changing formulations about race and racial distinction in America. Consequently, the “discovery” of Sapelo Island’s Gullah folk was more a sign of times than an anthropological discovery. This dissertation interrogates the intellectual motives of the researchers and writers who have explored Sapelo Islanders in their works, and argues that the advent of American Modernism, the development of new social scientific theories and popular cultural works during the 1920s and 1930s, and other trends shaped their depictions.
  • Illinois ... Football Guide

    Illinois ... Football Guide

    University of Illinois at Urbana-Champaign !~he Quad s the :enter of :ampus ife 3 . H«H» H 1 i % UI 6 U= tiii L L,._ L-'IA-OHAMPAIGK The 1990 Illinois Football Media Guide • The University of Illinois . • A 100-year Tradition, continued ~> The University at a Glance 118 Chronology 4 President Stanley Ikenberrv • The Athletes . 4 Chancellor Morton Weir 122 Consensus All-American/ 5 UI Board of Trustees All-Big Ten 6 Academics 124 Football Captains/ " Life on Campus Most Valuable Players • The Division of 125 All-Stars Intercollegiate Athletics 127 Academic All-Americans/ 10 A Brief History Academic All-Big Ten 11 Football Facilities 128 Hall of Fame Winners 12 John Mackovic 129 Silver Football Award 10 Assistant Coaches 130 Fighting Illini in the 20 D.I.A. Staff Heisman Voting • 1990 Outlook... 131 Bruce Capel Award 28 Alpha/Numerical Outlook 132 Illini in the NFL 30 1990 Outlook • Statistical Highlights 34 1990 Fighting Illini 134 V early Statistical Leaders • 1990 Opponents at a Glance 136 Individual Records-Offense 64 Opponent Previews 143 Individual Records-Defense All-Time Record vs. Opponents 41 NCAA Records 75 UNIVERSITY LIBRARY 78 UI Travel Plans/ 145 Freshman /Single-Play/ ILLINOIS AT URBANA-CHAMPAIGN Opponent Directory Regular Season UNIVERSITY OF responsible for its charging this material is • A Look back at the 1989 Season Team Records The person on or before theidue date. 146 Ail-Time Marks renewal or return to the library Sll 1989 Illinois Stats for is $125.00, $300.00 14, Top Performances minimum fee for a lost item 82 1989 Big Ten Stats The 149 Television Appearances journals.
  • EXTENSIONS of REMARKS September 23, 1969 EXTENSIONS of REMARKS

    EXTENSIONS of REMARKS September 23, 1969 EXTENSIONS of REMARKS

    26744 EXTENSIONS OF REMARKS September 23, 1969 EXTENSIONS OF REMARKS CHANGING CHALLENGE IN HIGH­ centrated on the execution of the Interstate assessing the impact of land use of highway WAY DEVELOPMENT STRESSED highway program. Before we have completed construction, urban redevelopment, mining BY SENATOR RANDOLPH IN AD­ it sometime in the middle of the next dec­ and sanitary landfills. We are looking at the DRESS AT VIRGINIA MOTOR VE­ ade we will have spent approximately $70 bil­ question of biological imbalances created by lion on this massive public works under­ dredging, thermal pollution, pesticides, and HICLE CONFERENCE taking, begun 48 years ago. By then we will air pollution. And we are probing problems have achieved our goal of connecting every connected with flooding and dam construc­ major metropolitan center in the United tion, the effects of building reservoirs, and HON. WILLIAM B. SPONG, JR. States in a coast-to-coast and border-to­ the use of nuclear energy for power or con­ OF VIRGINIA border hook-up. struction. IN THE SENATE OF THE UNITED STATES In the process of building our 42,500 miles The heart of our concern is best reflected in of Interstate and Defense highways, we will Tuesday, September 23, 1969 legislation introduced early this year by have produced vast wealth in the form of myself and 41 of my colleagues, the "En­ Mr. SPONG. Mr. President, this morn­ new homes, new plants, and new jobs. We vironmental Quality Improvement Act of ing the Virginia Motor Vehicle Confer­ will have repeated many times over the suc­ 1969," which has been incorporated in S.
  • The Harlem Renaissance: a Handbook

    The Harlem Renaissance: a Handbook

    .1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study.