With the resignations of the Hirshhorn Museum’s director and the chairman of its board of trustees this summer, the Bubble, or Seasonal Inflatable Structure, project (at left) has collapsed in a very public way. As the Bubble deflated under the weight of its projected costs, the Smithsonian Folklife Festival, a different kind of venue for arts and culture, continued its long run of phenomenal success. Read More
I recently started a new position at the Philadelphia Museum of Art as a Curatorial and Interpretation Fellow, for which my Public History degree from American University has been (and will continue to be) invaluable. Understanding art through history and vice versa is one of the joys of curatorial work in an art museum, but interpreting cultural, historical, religious and aesthetic context to a wider audience can be a real challenge. Read More
This spring, I’ve been teaching an urban anthropology class at Tufts University. In the class session before I left for the National Council on Public History conference, we talked about how digital technologies have become ever more interwoven with urban experience. Read More
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
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With the resignations of the Hirshhorn Museum’s director and the chairman of its board of trustees this summer, the Bubble, or Seasonal Inflatable Structure, project (at left) has collapsed in a very public way. As the Bubble deflated under the weight of its projected costs, the Smithsonian Folklife Festival, a different kind of venue for arts and culture, continued its long run of phenomenal success. Read More 
