Search results for ""Smithsonian""

Outstanding Academic Title, Choice, 2015 Winner, Ewell Newman Award of the American Historical Print Collectors Society, 2016In 1849 the Smithsonian purchased the Marsh Collection of European engravings. Not only the first collection of any kind to be acquired by the new Institution, it was also the first public print collection in the nation, and it presented an important symbol of cultural authority. The prints formed part of the library of Vermont Congressman George Perkins Marsh (1801-1882), a member of the Smithsonian’s Board of Regents. The uncertainty of the Smithsonian's mission in the early years complicated its motivation for purchasing the collection, especially given Marsh’s position as a Regent in financial difficulty. After a serious fire in 1865, portions of the collection were deposited at the Library of Congress and the Corcoran Gallery of Art. Efforts to reclaim it began in the 1880s, as a new generation of Smithsonian staff expanded the National Museum, but they achieved only mixed success. Through the story of the Marsh Collection, the book explores the cultural values attributed to prints in the 19th century, including their prominent role in expositions and their influence on visual culture at a time when collecting styles were moving from an individual’s private contemplation of artworks to wider public venues of exposition in museums and reception by multiple audiences. The history of this first Smithsonian collection enlivens an important stage in the development of American cultural identity and in the formation of the Smithsonian as a national institution.

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This stunning book will be on the wish-list of any woodworker and is must-have for any wood-artist's library. As the first book to catalogue the preeminent collection of American studio furniture owned by the Smithsonian's Renwick Gallery, "Studio Furniture" is a beautifully photographed chronicle of one of the most important movements in modern craft - the Studio Furniture movement. Featuring a Who's Who of American furniture making, it features 84 stunning pieces and provides fascinating insight into each maker's professional training, artistic techniques and inspirations. Among those included are Sam Maloof, Tage Frid, Wharton Esherick, Wendall Castle and other artists whose work is unsurpassed for its functionality, creativity and fine craftsmanship.

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The Smithsonian National Air and Space Museum's archives are world-renowned, but few might suspect that among over a million and a half photographs of airplanes, spacecraft, and famous aviators, the Museum has a veritable photographic menagerie of animals of all shapes and sizes. Animals Aloft presents a selection of photographs and anecdotes of this little-known aspect of aviation history. The author, in a witty and well informed text, describes the unique moments in the history of animal flight captured by the camera and artists' engravings. Animals Aloft records and illustrates hundreds of animal aviators and co-pilots including fifteen cats, two chickens, one rooster and four chicks; eight cows, one chimpanzee, numerous dogs, innumerable horses (including an entire cavalry column), birds, four goats and a spider. The bravest flew in legendary craft; the chicks in a Lockheed Constellation; the spider in the Skylab space station; the cows in a DC-3A, Kiddo in airship America; Gilmore the lion in a Lockheed Air Express 3; and Tailwind the woodchuck, who flew away in a Bellanca Sky Rocket and was never seen again. Meet Kiddo, the first cat to attempt a transatlantic crossing by air; Whiskey and Soda, lion mascots of the Lafayette Escadrille; Cher Ami, heroic pigeon of the Battle of Meuse-Argonne in World War I; Titina, the dog who flew over the North Pole twice; and Gilmore, lion mascot (and nervous passenger) of the dashing pilot Roscoe Turner. There are the tragic stories of Tailwind the woodchuck and Laika the space dog--and did Moritz, the Red Baron's Great Dane, really suffer from airsickness? Wilbur Wright, Alexander Graham Bell, Charles Lindbergh, and James H. Jimmy Doolittle make guest appearances, as does Amelia Earhart--with Harpo Marx. And, amazingly enough, it turns out that pigs really can fly. Animals Aloft pays an affectionate and at times humorous tribute to all these wonderful animals in their flying machines. Allan Janus is a museum specialist in the Archives Division of the National Air and Space Museum, where he assists researchers and maintains the archives' lighter than air (balloons and airship) files. He has organized several exhibits of archival material for the Museum, including Fauna in the Files, Airships in the Archives, and Army Green to Air Force Blue. He also wrote Dog is my Co-Pilot for Air & Space/Smithsonian magazine. Janus is also a widely exhibited photographer, whose work is represented in several museum collections, including the Smithsonian American Art Museum, the Corcoran Gallery of Art, and the Baltimore Museum of Art. Janus grew up in the Washington D.C. area, and currently lives in Washington Grove, Maryland, with two decidedly earth-bound cats, Max and Maxine.

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Celebrate the beautiful and the unique with a sticker compendium of more than 1,000 stunning selections from the collections of the Smithsonian Institution.In collaboration with the Smithsonian comes a book of over 1,000 stickers of varying sizes showcasing incredible photographs and illustrations from the millions of captivating collections from the Smithsonian, the world’s largest museum and research complex. From Victorian anatomy illustrations to rare animals; seashells to insects; scientific oddities to jewelry; spacecraft and airplanes to letters and numbers, this book is brimming with a curated selection of stickers perfect for mindfulness and creative relaxation.

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In 1994, when the National Air and Space Museum announced plans to display the Enola Gay, the B-29 sent to destroy Hiroshima with an atomic bomb, the ensuing political uproar caught the museum's parent Smithsonian Institution entirely unprepared. As the largest such complex in the world, the Smithsonian cares for millions of objects and has displayed everything from George Washington's sword to moon rocks to Dorothy's ruby slippers from The Wizard of Oz. Why did this particular object arouse such controversy? From an insider's perspective, Robert C. Post's Who Owns America's Past? offers insight into the politics of display and the interpretation of history. Never before has a book about the Smithsonian detailed the recent and dramatic shift from collection-driven shows, with artifacts meant to speak for themselves, to concept-driven exhibitions, in which objects aim to tell a story, displayed like illustrations in a book. Even more recently, the trend is to show artifacts along with props, sound effects, and interactive elements in order to create an immersive environment. Rather than looking at history, visitors are invited to experience it. Who Owns America's Past? examines the different ways that the Smithsonian's exhibitions have been conceived and designed-whether to educate visitors, celebrate an important historical moment, or satisfy donor demands or partisan agendas. Combining information from hitherto-untapped archival sources, extensive interviews, a thorough review of the secondary literature, and considerable personal experience, Post gives the reader a behind-the-scenes view of disputes among curators, academics, and stakeholders that were sometimes private and at other times burst into headline news.

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The scandals, mysteries, and human stories behind the world’s greatest gems are brought to life by the curator of the Smithsonian’s National Gem Collection Dr. Jeffrey E. Post, curator of the National Gem Collection for more than 25 years, separates fact from fiction in an all-new and original book, revealing fresh information and regaling the reader with anecdotes and tales of some of the world’s greatest and most famous gemstones. Dr. Post is the author of the now out-of-print book The National Gem Collection (Abrams, 1997), which has sold more than 50,000 copies. In this brand-new book, he tells the stories of the Smithsonian’s most famous gems, including the Hope Diamond, Star of Asia Sapphire, Carmen Lucia Ruby, Hooker Emerald, and Blue Heart Diamond—and also presents the tales, details, and fascinating facts surrounding rarely displayed gems from the Smithsonian vault and additions made to the collection since 1997. Not only a resource for learning about rare and beautiful gems, the book also presents the stories of the people who once owned or were associated with these jewels—from ordinary people to kings, emperors, maharajas, celebrities, and captains of industry.

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Winter counts—pictorial calendars by which Plains Indians kept track of their past—marked each year with a picture of a memorable event. The Lakota, or Western Sioux, recorded many different events in their winter counts, but all include “the year the stars fell,” the spectacular Leonid meteor shower of 1833–34. This volume is an unprecedented assemblage of information on the important collection of Lakota winter counts at the Smithsonian, a core resource for the study of Lakota history and culture. Fourteen winter counts are presented in detail, with a chapter devoted to the newly discovered Rosebud Winter Count. Together these counts constitute a visual chronicle of over two hundred years of Lakota experience as recorded by Native historians. A visually stunning book, The Year the Stars Fell features full-color illustrations of the fourteen winter counts plus more than 900 detailed images of individual pictographs. Explanations, provided by their nineteenth-century Lakota recorders, are arranged chronologically to facilitate comparison among counts. The book provides ready access to primary source material, and serves as an essential reference work for scholars as well as an invaluable historical resource for Native communities.

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In 1994, when the National Air and Space Museum announced plans to display the Enola Gay, the B-29 sent to destroy Hiroshima with an atomic bomb, the ensuing political uproar caught the museum's parent Smithsonian Institution entirely unprepared. As the largest such complex in the world, the Smithsonian cares for millions of objects and has displayed everything from George Washington's sword to moon rocks to Dorothy's ruby slippers from The Wizard of Oz. Why did this particular object arouse such controversy? From an insider's perspective, Robert C. Post's Who Owns America's Past? offers insight into the politics of display and the interpretation of history. Never before has a book about the Smithsonian detailed the recent and dramatic shift from collection-driven shows, with artifacts meant to speak for themselves, to concept-driven exhibitions, in which objects aim to tell a story, displayed like illustrations in a book. Even more recently, the trend is to show artifacts along with props, sound effects, and interactive elements in order to create an immersive environment. Rather than looking at history, visitors are invited to experience it. Who Owns America's Past? examines the different ways that the Smithsonian's exhibitions have been conceived and designed-whether to educate visitors, celebrate an important historical moment, or satisfy donor demands or partisan agendas. Combining information from hitherto-untapped archival sources, extensive interviews, a thorough review of the secondary literature, and considerable personal experience, Post gives the reader a behind-the-scenes view of disputes among curators, academics, and stakeholders that were sometimes private and at other times burst into headline news.

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The Mitsitam Cafe Cookbook, published in association with the Smithsonian Institution’s National Museum of the American Indian, showcases the Americas’ indigenous foods in 90 easy-to-follow, home-tested recipes. Author and Mitsitam Cafe chef Richard Hetzler spent years researching Native American dishes and food practices for this stunning cookbook. Includes full-color images of the dishes and of objects from the museum’s collection.

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This is the story of how the Smithsonian Institute became intertwined in a secret biological warfare project. During the 1960s, the Smithsonian Institution undertook a large-scale biological survey of a group of uninhabited tropical islands in the Pacific. It was one of the largest and most sweeping biological survey programs of all time, a six-year-long enterprise during which Smithsonian personnel banded 1.8 million birds, captured live specimens and took blood samples, and catalogued the avian, mammalian, reptile, and plant life of 48 Pacific islands. But there was a twist. The study had been initiated, funded, and was overseen by the U.S. Biological Laboratories at Fort Detrick, Maryland. The home of the American biological warfare program. In signing the contract to perform the survey, the Smithsonian became a literal subcontractor to a secret biological warfare project. And by participating in the survey, the Smithsonian scientists were paving the way for top-secret biological warfare tests in the Pacific. Critics charged the Smithsonian with having entered into a Faustian bargain that made the institution complicit in the sordid business of biological warfare, a form of combat which, if it were ever put into practice and used against human populations, could cause mass disease, suffering, and death. The Smithsonian had no proper role in any such activities, said the critics, and should never have undertaken the survey. Science, Secrecy, and the Smithsonian: The Strange History of the Pacific Ocean Biological Survey Program explores the workings of the survey program, places it in its historical context, describes the military tests that followed, and evaluates the critical objections to the Smithsonian's participation in the project.

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50 DIY crafts, cooking, decorating, and gardening projects from the experts at the Smithsonian Institution The Smithsonian Institution presents a uniquely curated collection of lively how-to projects and historical narratives of four realms of American domestic arts: cooking, crafts, decorating, and gardening. Perfect for hobbyists interested in the historical context of what they create for their homes, this beautifully illustrated book contains fifty DIY projects—from a uniquely American quilt pattern to on-trend crafts like terrarium making and pickling—that all offer satisfying ways to bring history and culture to life. For those craving more, features provide rare insights from Smithsonian experts on prominent figures, events, and trends. Readers can learn about influential Americans who've had an impact on each realm; look at visual timelines of significant events that pushed development forward; or stay in the present and see how American arts in contemporary life is being redefined, all while enjoying satisfying and unique projects.

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Drawing on 400 years of newspaper articles and photos, first person accounts, state historical records, and illustrated field reports, Richard J. Dewhurst reveals not only that North America was once ruled by an advanced race of giants but also that the Smithsonian has been actively suppressing the physical evidence for nearly 150 years. He shows how thousands of giant skeletons have been unearthed at Mound Builder sites across the continent, only to disappear from the historical record. He examines other concealed giant discoveries, such as the giant mummies found in Spirit Cave, Nevada, wrapped in fine textiles and dating to 8000 BCE; the hundreds of red-haired bog mummies found at sinkhole "cenotes" on the west coast of Florida and dating to 7500 BCE; and the ruins of the giants' cities with populations in excess of 100,000 in Arizona, Oklahoma, Alabama, and Louisiana. Dewhurst shows how this suppression began shortly after the Civil War and transformed into an outright cover-up in 1879 when Major John Wesley Powell was appointed Smithsonian director, launching a strict pro-evolution, pro-Manifest Destiny agenda. He also reveals the 1920s' discovery on Catalina Island of a megalithic burial complex with 6,000 years of continuous burials and over 4,000 skeletons, including a succession of kings and queens, some more than 9 feet tall--the evidence for which is hidden in the restricted-access evidence rooms at the Smithsonian.

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The NASM's 60,000 objects comprise the world's largest collection of historic aircraft and spacecraft. The content is culled from the museum's two public display facilities, one on the National Mall in Washington, D.C. and the second at the museum's Steven F. Udvar-Hazy Center in Chantilly, Virginia.Among the 100 artifacts profiled are the original 1903 Wright Flyer; Charles Lindbergh's Spirit of St. Louis; Chuck Yeager's Bell X-1; John Glenn's Friendship 7 spacecraft; the Apollo 11 command module; Lockheed SR-71 Blackbird; the Boeing B-29 Superfortress Enola Gay; the Dash 80 prototype for the 707; the sole-surviving Boeing 307 Stratoliner; and space shuttle Discovery.

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Rising on the National Mall next to the Washington Monument, the National Museum of African American History and Culture is a tiered bronze beacon inviting everyone to learn about the richness and diversity of the African American experience and how it helped shape this nation. Begin with the Past: Building the National Museum of African American History and Culture is the story of how this unparalleled museum found its place in the nation’s collective memory and on its public commons.   Begin with the Past presents the long history of efforts to build a permanent place to collect, study, and present African American history and culture. In 2003 the museum was officially established at long last, yet the work of the museum was only just beginning. The book traces the appointment of the director, the selection of the site, and the process of conceiving, designing, and constructing a public monument to the achievements and contributions of African Americ

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Open Borders to a Revolution is a collective enterprise studying the immediate and long-lasting effects of the Mexican Revolution in the United States in such spheres as diplomacy, politics, and intellectual thought. It marks both the bicentennial of Latin America’s independence from Spain and the centennial of the Mexican Revolution, an anniversary with significant relevance for American history. The Smithsonian partnered with several institutions and organized a series of cultural events, among them an academic symposium whose program was envisioned and developed by the editors of this volume: "Creating an Archetype: The Influence of the Mexican Revolution in the United States." The symposium gathered scholars who engaged in conversation and debate on several aspects of U.S.-Mexico relations, including the Mexican-American experience. This volume consolidates the results of those intellectual exchanges, adding new voices, and providing a wide-ranging exploration of the Mexican Revolution.

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aka Marcel Duchamp is an anthology of recent essays by leading scholars on Marcel Duchamp, arguably the most influential artist of the twentieth century. With scholarship addressing the full range of Duchamp's career, these papers examine how Duchamp's influence grew and impressed itself upon his contemporaries and subsequent generations of artists. Duchamp provides an illuminating model of the dynamics of play in construction of artistic identity and legacy, which includes both personal volition and contributions made by fellow artists, critics, and historians. This volume is not only important for its contributions to Duchamp studies and the light it sheds on the larger impact of Duchamp's art and career on modern and contemporary art, but also for what it reveals about how the history of art itself is shaped over time by shifting agendas, evolving methodologies, and new discoveries.

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