As a trade union leader and a political activist, I had occasions to attend national and international events. Often, other attendees would bring posters from their respective organizations. I would usually take one of each because I was attracted to either the graphics or the issue or both. Read More
The second part of this art and public history conversation series features artist E.G. Crichton. In addition to being professor in the Art Department at UC Santa Cruz, Crichton is the first artist-in-residence for the GLBT Historical Society in San Francisco. Read More
Editor’s note: In preparation for the upcoming NCPH conference in Ottawa, The Public Historian has commissioned a series of Ottawa site reviews, as it does annually for sites in our conference city. These “(p)reviews,” as we’re dubbing them, will inaugurate what we hope will be a growing partnership between The Public Historian and the Public History Commons. Read More
We public historians are increasing our fluency in languages. We are conversing with colleagues across the globe and across disciplines, we are ever dexterous in our work with new media, and we are constantly strengthening the ways we reach out to audiences, drawing from a language of engagement that has emerged since our field’s early days and that has blossomed in the last ten years. Read More
Editors’ Note: This series showcases the winners of the National Council on Public History’s annual awards for the best new work in the field. Today’s post is by Yolanda Chávez Leyva, co-director of Museo Urbano at 500 S. Oregon, the winner of the 2013 NCPH Public History Project Award.
Each Moment a Mountain is a public history and digital humanities project that celebrates art and thought inspired by the wealth of materials housed in freely available digital archives. Showcased are poetry, fiction, non-fiction, art, multimedia, comics, humanities scholarship and other digitally representable creations that engage with text or images from our featured historical archives. Read More
During a slow moment on the Love Letters tour, while the couples snuggle each other casually, I ask Barbara to talk more about the effect of the murals. A nurse by training, she tells me that she sees them as having a public health impact—images of hearts helping people’s hearts—and improving people’s attitudes. Read More
“There was this young man from West Philadelphia,” our tour guide, Barbara, told the group of us assembled on hard plastic chairs. “He was a tagger, a graffiti artist, kept getting in trouble. He finally got sent to jail, and when he got out his girlfriend told him she didn’t want him around their baby anymore. Read More
Founded in 1984 to combat graffiti, Philadelphia’s Mural Arts Program replaced tags and bubble letters with larger-than-life murals that were designed collaboratively by community members and professional artists, becoming one of the most influential public arts organizations of its kind. Since that time, more than 3,000 murals—memorializing famous Philadelphians, commemorating immigration and migration stories, and acknowledging groups ranging from veterans to people with disabilities—have put a visual face on many neighborhoods, identifying and crystallizing their unique character. Read More
Maps are more than pieces of paper. They are stories, conversations, lives and songs lived out in a place and are inseparable from the political and cultural contexts in which they are used. (A. Warren, cited in Giacomo Rambaldi, “Who Owns the Map Legend?