Black Creation, vol. 1, no. 1 (1970)
From Exhibiting Ourselves, Michèle Gates Moresi
Your use of this Platform is subject to the Fulcrum Terms of Service.
University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.
With contributions from Rebecca Amato, Kristen Baldwin Deathridge, Elizabeth Belanger, Gabrielle Bendiner-Viani, Shane Bernardo, Clarissa J. Ceglio, Maria E. Cotera, Pero Gaglo Dagbovie, Dipti Desai, Rachel Donaldson, Fernanda Espinosa, Michèle Gates Moresi, Abigail R. Gautreau, Judith Jennings, Lara Kelland, Daniel R. Kerr, Kristen Ana La Follette, Denise D. Meringolo, Nicole A. Moore, Burnis Morris, Mary Rizzo, Laura Schiavo, Amy Starecheski, Craig Stutman, Anne M. Valk, and William S. Walker.
"This is a much-needed recalibration, as professional organizations and practitioners across genres of public history struggle to diversify their own ranks and to bring contemporary activists into the fold."
— Catherine Gudis, University of California, Riverside.
"Taken all together, the articles in this volume highlight the persistent threads of justice work that has characterized the multifaceted history of public history as well as the challenges faced in doing that work."
— Patricia Mooney-Melvin, The Public Historian
Denise D. Meringolo is associate professor of history at the University of Maryland, Baltimore. She is the author of Museums, Monuments, and National Parks: Toward a New Genealogy of Public History (University of Massachusetts, 2012), which won the 2013 National Council on Public History prize for the best book in the field.
An auto-narrated audiobook is available via the "Download" button above.
Not finding what you are looking for? Help improve Fulcrum's search and share your feedback.
From Exhibiting Ourselves, Michèle Gates Moresi
The sentiments of “Black Power” infiltrated all aspects of culture, where art, literature, and fashion aesthetics encompassed celebrating and dignifying blackness.
From Exhibiting Ourselves, Michèle Gates Moresi
Carver Theater, first home of the Anacostia Museum, 1967. The Smithsonian’s secretary,
S. Dillon Ripley, sought to reach a neglected audience by creating a new museum
in a rented theater that had closed in the Anacostia neighborhood of Washington,
DC, about four miles from the National Mall. Smithsonian Institution Archives, Image
#92-1790.
From Exhibiting Ourselves, Michèle Gates Moresi
Residents were involved in readying the museum building for its grand opening, and continued to influence concepts for its exhibitions and programs in collaboration with museum staff.
From Exhibiting Ourselves, Michèle Gates Moresi
The Anacostia Neighborhood developed exhibitions and programs relevant to residents’ experiences.