To Be Sold: Virginia and the American Slave Trade offers a frank exploration of Virginia's role in the business of the second middle passage—the forced relocation of two-thirds of a million African Americans from the Upper South to the Cotton South in the decades before the Civil War. Anchoring the exhibition is a series of images created by English artist Eyre Crowe (1824–1910), who in March 1853 witnessed the proceedings of Richmond's largest business. Crowe turned his sketches and experience into a series of remarkable paintings and engravings that humanized the enslaved and spoke eloquently of the pathos and upheaval of the trade. The story of the American slave trade is one of numbers, but it is also the story of individuals whose families were torn apart and whose lives were forever altered.
Where you live makes all the difference, but that difference has a history. The current circumstances of Richmond's neighborhoods have roots in state and federal policies that have had lasting effects on concentrations of poverty and growth, lending patterns, homeownership, and educational outcomes for children. Neighborhoods that received a D grade in the 1950s now have a high concentration of federal housing subsidies and high levels of poverty. Children in these same neighborhoods score lower on SOL tests than their peers in neighborhoods with low poverty rates. During the foreclosure crisis, these neighborhoods featured high rates of default. We can use historic and current maps and data to better understand the connection between public policy and economic development in the Richmond region.
The next time you drive along Route 1, glance out the window and look for an old motel. Some are now disguised as antique malls, others are abandoned and exist as haunting reminders of a bygone era, and those still operating don't look as inviting as they may once have appeared. Try to imagine these tourist cottages and motels in their heyday, however. Bright neon signs flashed "No Vacancy." Families unloaded cars for a night's rest. Hungry travelers ordered hot chicken dinners in the motel's restaurant before turning in for the night.
A new photography exhibition at the Library of Virginia—No Vacancy: Remnants of Virginia's Roadside Culture, October 15, 2013–February 22, 2014—will focus on a selection of motels and tourist courts found along Virginia's historic Route 1, weaving the individual stories into their historical context. The more than 25 historic and contemporary photographs and accompanying text in the exhibition will highlight architectural elements, present the significance of race and class in the history of travel, and demonstrate how the perception and operation of motels have changed over time. The motels will also be explored through an array of ephemeral items like travel guides, postcards, and advertisements.
No Vacancy will ignite nostalgic memories of family road trips, share the tales of the Virginians who operated the motels, and inspire us to pay attention to our cultural landscape. From campsites to quaint cottages to sleek modern accommodations, motels tell the story of travel and society in Virginia during the 20th and 21st centuries.
The WPA Historic Houses Drawings Collection includes 140 drawings in pen-and-ink, pencil, and watercolor of houses, courthouses, churches, mill houses, and taverns, representing 39 Virginia counties. From 1932 to 1937, the Virginia State Commission on Conservation and Development's Division of History and Archaeology received funds from the Works Progress Administration's (WPA) Federal Art Project to commission five artists—including Rex M. Allyn, Edward A. Darby, Dorothea A. Farrington, E. Neville Harnsberger, and Elsie J. Mistie—to create drawings for a publication on historic Virginia shrines. Although the drawings were never published, likely due to diminishing funds, the collection presents an important record of Virginia architecture, both traditional and vernacular, and includes images of structures that are no longer standing today. The photographs from which the drawings were based are part of the WPA Photograph and Negative Collection at the Library of Virginia.
Night holds a special place in the heart of photography. The geometry of light and shadow creates an interplay of mystery, possibility, and the foreboding of the unknown. Rather than looking at night photography as an extension of daytime shooting with added complications, night photographers embrace the unique challenges of nocturnal photography for the tremendous creative opportunities it offers.
Due to the limited sensitivity of early photographic processes, exposure times were exceedingly long, even in the daytime. It wasn't until 1878, when the first dry plate glass negative was introduced, with its greater sensitivity that opened the doors to night photography. While many amateurs experimented with night photography in the 1880s, the earliest, artistically considered bodies of night images were made by Paul Martin in London in 1895 and soon after by Alfred Stieglitz in New York. The timing of this work was, in part, a response to the beauty of electric lights - a relatively recent innovation that had transformed the look of the urban night. This fascination with incandescent street lighting can be seen in many of the night photos taken by Virginia photographer Harry C. Mann.
Advances in night photography have paralleled advances in photographic technology for the last hundred years, and as night photography has become increasingly more accessible, an ever-increasing number of photographers engage in the practice on a regular, rather than occasional or experimental, basis. The exhibition shows how the art and technology of photography are linked, one often driving the other, and also explores some of the latest technologies of nighttime photography.
Drawn from the Library's photograph collections, Dark Side: Night Photography in Virginia includes images ranging from the 1890s to the present.
Inspired by these night scenes, we're inviting aspiring writers to interpret these works and submit to the Dark Side writing contest. Please see http://www.virginiamemory.com/blogs/dark-side/ for full details and eligible images.
Whether they bark, meow, chirp, squeak, or hiss, pets are an important part of their owner's lives and increasingly recognized as full-fledged family members. "The Importance of Being Cute: Pet Photography in Virginia" is an exhibition of more than one hundred historic and contemporary photographs exploring the complex and multi-faceted relationships that have existed between Virginians and their animals since the advent of photography.
One of the remarkable aspects of the rapid spread of photographic portraiture is how soon and how often people brought animals, particularly dogs, into studios to have likenesses made. These early photographs not only document the practice of pet keeping but suggest a great deal about the range of relationships between people and their pets. By the 1890s, when photography was simplified enough to become an amateur pastime, owners began to document pets in both ordinary activities and more humorous situations. It was a short leap from those amusing early pet snapshots to I CAN HAS CHEEZBURGER and other popular online pet photo sharing sites.
Think your pet is cute? Of course you do! Add your pet's photo to our exhibit by emailing it to email@example.com For additional online content, please visit our Pinterest page (http://pinterest.com/libraryofva/).
The actions of Virginians provide particularly good examples to learn about the role of the law and the courts in defining and protecting the rights and liberties of American citizenship. The state's legal culture and how Virginians interpret the concepts of law and justice are the results of the actions of private citizens and of men and women who hold public office or serve the public as officers of the courts. Legislators make the laws, and judges interpret and apply the laws, but voters, jurors, and citizens are in many ways influential participants in shaping the laws, the legal process, and how courts and other legal institutions function.
Fading black-and-white photographs and yellowing handwritten letters in a safe deposit box. The records of a historic African American business found in a dumpster. The conscious decision to destroy private papers. The destruction of archives by chance and nature. All illustrate what we collect and value in our cultural landscape.
Lost and Found, a new exhibition opening at the Library of Virginia on February 27, examines the constantly changing fabric of our world. Things disappear, sometimes almost without notice-signs, buildings, even towns-and others go into attics, basements, and landfills. Some are saved and carefully stored and preserved; others intentionally destroyed, sometimes dramatically.
Most of us collect something-baseball cards or autographs, books or family mementos. Many of us create scrapbooks that reflect our personal interests. Lost and Found showcases the personal and the professional, the ephemeral and the profound, examples of personal collections, scrapbooks, and time capsules. It tells large stories and small ones. The exhibition highlights items in the Library's vast collections that offer intriguing glimpses into our past and show the promise of new endeavors such as the Civil War 150 Legacy Project in garnering greater insight into our shared history.
Lost and Found runs through August 25, 2012, and is free and open to the public Monday through Saturday from 9:00 AM to 5:00 PM, excluding state holidays.
Exhibition: December 5, 2011 — February 4, 2012
"Advertising without posters is like fishing without worms."
— The Hatch Brothers This sentiment was certainly true in 1879 when brothers Herbert H. and Charles R. Hatch opened Hatch Show Print, a printing shop in Nashville, Tennessee. Their handcrafted posters screamed slogans such as "More Power, More Pep," "So Many Girls You Can't Count Them All," and "Always Clean, Always Good." Almost 130 years later, Hatch posters hold their own, offering a stirring and refreshingly tactile contrast to the digital advertising world. The Smithsonian Institution Traveling Exhibition Service in partnership with the Country Music Hall of Fame and Museum celebrates this time-honored graphic art tradition. American Letterpress: The Art of Hatch Show Print opened at the Experience Music Project in Seattle on Oct. 11, 2008, and has traveled to additional museums over the last few years, including the Austin Museum of Art (Texas), Tulane University's Newcomb Art Gallery in New Orleans, and the Georgia Museum of Art in Athens.
What were Virginians thinking and discussing as the first Southern states withdrew from the United States following the election of Abraham Lincoln in November 1860? Why was Virginia’s decision critical to America’s fate in 1861 and key to the ultimate course and outcome of the sectional crisis?
Virginia was central to American identity for its role in the founding of the United States and its political principles. Both the Confederacy and the Union wanted to claim Virginia’s historical legacy. Union or Secession explores what Virginians thought and debated as the crisis unfolded. Explore the choices Virginians faced as they decided their fate and the lasting consequences of their decisions for Virginia and the nation.