• Congratulations to the main Smithsonian website, which has been nominated for a Webby Award in the category of Best Cultural Institution website! (Please go and vote.)

• Mark your calendars! The Library of Congress will be hosting the free public event, Pass it On: Personal Archiving Day, on Saturday, April 30, from 11 a.m. to 2 p.m to provide the public with information about preserving personal and family photographs.

• All of the talks from Ignite Smithsonian, last week’s Smithsonian-sponsored event on the future of museums, archives, and libraries, are now available on the web!

• The Philadelphia Tribune is digitally archiving its entire photographic collection for public online access, and the resulting archive will be “among the largest photography collections telling the visual story of the African American experience.”

• Conserving the art and works of “the godfather of American tattooing.”

• In honor of National Poetry Month, a DC Poetry tour around the city by The Poetry Foundation, complete with stops at Smithsonian landmarks like the National Zoological Park and the National Air and Space Museum.

• Artist Mac Premo has archived much of his life through collected objects. Now he’s moving and has to get rid of his stuff. He’ll be photographing and displaying four hundred of these objects in The Dumpster Project [via swissmiss]:

While the economy may be perking up, the recession we’re still climbing out of has made one thing clear; if you need to earn a living, you’ve got to think entrepreneurially. Read enough success stories about former executives who’ve become cupcake moguls and a path becomes clear: take the dreams and skills you have, along with whatever compelling back story you can point to and exploit them in whatever media you have access to. If you’ve ever thought about branding and/or marketing yourself, you might learn something from this photograph of the American sculptor, Edmonia Lewis. As Jacqueline Serwer, chief curator at the National Museum of African American History and Culture (NMAAHC), described it for a story in click! photography changes everything, this small, cardboard-mounted promotional piece was circulated by Lewis to create buzz and build an audience and financial support for her ambitious sculptural works.

In addition to commissioning this carte-de-visite from Henry Rocher, one of Chicago’s better known portrait photographers, Lewis also took out an advertisement in the Chicago Tribune, promoting the return of the “young and gifted Colored Sculptor of Rome, Italy.” The public was invited to purchase tickets to view Lewis’ sculpture and meet the artist, herself. This novel strategy was clever and profitable; by Lewis’ own reckoning, she earned $6,000 in admission and raffle sales in Chicago, and the growing interest her publicity and the work itself soon led to its display in exhibitions in California and inclusion in the Fine Art section of the 1876 Philadelphia Centennial. While it wasn’t until the mid-twentieth century that film star Elizabeth Taylor could proudly proclaimed “I am my own commodity,” Lewis’ photograph and marketing scheme are reminders of the creative ways 19th century women engineered their own pathways to success.