Description: This post is the second in a series this month that honors the anniversary of the famous Scopes Trial, held in Tennessee from July 10–21, 1925, and highlights a set of rare and newly digitized photographs, from the Smithsonian Institution Archives, of witnesses at the trial collections, which have been added to the Smithsonian Flickr Commons. In tone, composition, and setting,
Description: As a laborer at the Smithsonian from 1882 until his death in 1918, Harrison Lomax served the Institution’s top leaders. A letter in our collections that he wrote to Secretary Samuel P. Langley is an example of the ways in which African American employees advocated for themselves in order to earn promotions and raises.
Description: Readers of The Bigger Picture will be familiar with the Hungerford Deed, a 1787 property contract dividing a lucrative land inheritance between the mother and aunt of the Smithsonian’s founding donor, James Smithson. Over the last three years I have been able to take a deep dive into the content of the Deed and strengthen our understanding of Smithson’s choice to leave his
Description: As Director of the Smithsonian Photography Initiative, I’m often asked what makes the Smithsonian photography collections interesting and unique. For me, the answer is less about size – although, the Smithsonian does have more than 13 million photographs of all types – than about function.
Description: On what better day than Election Day to follow up on that tidbit I dropped a couple weeks ago regarding a consultation about then-candidate Barack Obama’s dry-erase boards, a recent acquisition by the National Museum of African American History and Culture? These artifacts, along with archival material and other realia (in archives terms: a man-made three-dimensional object)
Description: From 1967 to 1991, Mary E. Massey broke barriers for women at the Smithsonian by demonstrating her skills in spaces typically reserved only for men. Though Massey arrived at the Smithsonian as an elevator operator, by her retirement, she was the building manager for the Smithsonian American Art Museum and the National Portrait Gallery. In a column reserved for the Smithsonian