TOON IN - Smithsonian Institution Traveling Exhibition Service

Smithsonian Institution
Traveling Exhibition Service
The Newsletter about SITES Exhibitions and Exhibitors
Number 52 Fall 2006
TOON IN
The Art of the Animated
Movie Poster
Images courtesy Academy of Motion Picture Arts and Sciences
Over the course of several weeks last summer, the graphic arts librarian at the
Academy of Motion Picture Arts and Sciences heard a chorus of voices in her
head. But instead of being alarmed, Anne Coco was mildly amused. These were
the voices of decades’ worth of characters she knew and loved—Bambi, Beavis,
Charlie Brown, Mr. Magoo—speaking to her as she catalogued more than 1,500
items in the recently donated Cudequest Family Collection.
Jazz Age icon Betty Boop was actually a dog character when she first appeared in
1930. However, Betty was quickly transformed into her familiar human form. (Stone
lithograph, 1938)
In addition to producing
war films and animated
feature films during the
1940s, the Disney studio
continued to create
short subjects featuring
Goofy, Mickey Mouse,
Donald Duck, and other
recurring characters
from its perennially
popular cast.
(Offset print, 1944)
© Disney Enterprises, Inc.
Selected primarily from this collection, Toon In presents some 100 objects and
clips of cartoon footage that trace animation history
from the silent era (1911–1928) and golden age
(1929–1950) to the digital present. The exhibition
includes posters and five sets of vintage lobby card
sets promoting the classic icons of Hollywood studio
“shorts” (Betty Boop, Felix the Cat, Mickey Mouse,
Tom and Jerry), the ever-growing number of fulllength animated feature-length films (Snow White
and the Seven Dwarfs, Yellow Submarine, Toy Story),
and all four Oscar winners for best animated feature
(Shrek, Finding Nemo, Spirited Away, The Incredibles).
Much like Close Up in Black, SITES’ earlier
collaboration with the Academy on African American
film posters, Toon In reflects popular culture and
social trends.
Directed by Brad Bird and released by Warner
Brothers, The Iron Giant tells the story of a young
boy who befriends a giant from outer space.
Although critically acclaimed, it did poorly at the
box office. (Offset print, 1999)
The exhibition also explores the poster as a graphic
medium. Often designed by anonymous studio
illustrators, poster art for animated short subjects and
feature films was intended to draw in movie-goers.
Like animation technology, production techniques
changed over the years, affecting paper types and
sizes, the medium itself (paper posters vs. weatherresistant banners and lenticulars), and printing
(lithography vs. offset).
Scheduling: Shannon Perry, 202.633.3138, [email protected]
Content/design: Lawrence Hyman, 202.633.3109, [email protected]
Participation fee: $25,000 per 12-week booking period, plus prorated shipping
Size: 550 running feet (170 running meters)
Security: High
Tour begins: Fall 2008
FROM THE
Director
The diversity of topics in the SITES program is so wide ranging that keeping
track of them all occasionally requires the skill of a master juggler. At any given
time, one might sit in a meeting and for a moment need to consult the agenda
to be reminded that the subject at hand involves satellite imagery and not First
Ladies’ gowns.
In this issue of Siteline alone we’re featuring a group of new exhibitions so different from each other that one might reasonably wonder how animated cartoons,
African American folk art, and White House employees could possibly coexist
under one roof. The reason is simple–it’s all about making sure that the scope
of our program appeals to your visitors. Reading through these pages, you’ll
encounter additional exhibits on dance, labor history, and the experiences of
Asian Pacific Americans. They’re just a sampling of our newest shows, and our
website includes even more–a taste of the programmatic richness that gives
SITES its unique flavor.
I could hardly find a more fitting end to this brief column than a quick reference
to a new exhibition on, no less, yoyos! It’s among the many exhibitions that
SITES will be circulating from the Smithsonian’s National Museum of American
History while the museum is closed for renovation. And although most of our
collaborations with American History provide opportunities to stroll down
memory lane, not many invite visitors to “walk the dog” as they go.
Anna R. Cohn
American History on the Road
Although the National Museum of American History recently closed its doors for an extensive two-year
renovation, many of its exhibitions will be on the road, courtesy of SITES. Watch for announcements!
In the Spin: The History and Science of the Yoyo features archival materials, like this 1930s Duncan
Yo-Yo advertisement, photography, a video of contemporary yoyo masters, and yoyos from the
Smithsonian’s collections.
National Museum of American History
Taken by an unknown photographer, this
ca. 1910 image depicts longshoremen at a
banana inspection. African American dockworkers initially worked at southern piers in
cities such as New Orleans, later moving to
northern and western ports.
National Archives, Records of the Food and
Drug Administration
The Smithsonian Institution Traveling Exhibition Service (SITES) has been sharing the wealth of
Smithsonian collections and research programs with millions of people outside Washington, D.C., for
more than 50 years. SITES connects Americans to their shared cultural heritage through a wide range
of exhibitions about art, science, and history, which are shown wherever people live, work, and play.
Smithsonian Institution
Traveling Exhibition Service
Number 52 Fall 2006
Director of Strategic Communications
Andrea Stevens
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World War II created numerous “boom
towns” associated with the expanding
shipbuilding, armaments, and aircrafts
industries. These grocery clerks in Oak
Ridge, TN, were photographed in 1945
by James Earl Westcott.
National Archives, General Records for the
Department of Energy
“Heroic worker” photographs portray individual workers as
strong, powerful, and full of creative energy. Photographed
by Kadel and Herbert in 1918, this riveter at Hog Island shipyard outside of Philadelphia was among the 30,000 workers
who built 122 ships in two years.
National Archives, Records of the War Department,
General and Specific Staffs
Some work clothes, such as the hard hat worn
by this Navajo construction worker, make the job
safer. The unidentified man was photographed
by Lyntha Scott Eiler in 1972 at an Arizona
generating plant.
National Archives, Records of the Environmental
Protection Agency
THE WAY WE WORKED
Photographs from the
National Archives
Historic photographs provide “a front row seat to history,” says Allen Weinstein,
Archivist of the United States. With millions of photographs in its holdings in
Washington, D.C., regional archives, and presidential libraries, the National
Archives and Records Administration preserves a rich visual record of America.
One key element of American life is represented in The Way We Worked, an
exhibition of 86 color and black-and-white images from the National Archives,
where it debuted in 2005. Spanning the years 1857 to 1987, a period characterized
by shifts from agriculture to industrial to knowledge-based work, the exhibition
demonstrates how government records can bring social history to life.
“An often-overlooked aspect of the American experience, work has influenced our
economic growth, structured our communities, and shaped our attitudes toward
subjects as diverse as leisure, family, health, and education,” writes Bruce I. Bustard,
senior curator of the Archives’ museum programs, in the accompanying catalog.
and how they interacted. Many of the photographs were taken as dispassionate
records, some sought to persuade, and others combined documentary accuracy
with quiet artistry. The collections of more than 30 different federal agencies are
represented, from the obvious (Department of Labor) to the abolished (Office of
the Quartermaster General) to the recent (Environmental Protection Agency).
Complementing the photographs are 10 photomurals (approximately 7.5’ w x 9’ h)
and archival footage showing a variety of workplaces.
Scheduling: Ed Liskey, 202.633.3142, [email protected]
Content/design: Jeff Thompson, 202.633.3115, [email protected]
Participation fee: $8,000 per 10-week booking period, plus outgoing shipping
Size: 300 running feet (90 running meters)
Security: Moderate
Tour through: May 2010
Drawing on the expertise of his colleagues and his own familiarity with the
collections, Bustard selected from hundreds of glass slides, original prints and
negatives, and transparencies to show where workers labored, what they wore,
202.633.3140
[email protected]
This 1929 photo shows P.E.
Allen of the White House police
force, trainer Harry Waters, and
some of the White House dogs,
although not Herbert Hoover’s
personal favorite, King Tut.
Photo by Herbert E. French,
National Photo Company.
Library of Congress
During his 1994-2005 tenure at the White House, executive chef Walter Scheib (center) and
his staff prepared all menus and meals for the First Family and their private entertaining, as
well as for official and state functions.
Photo by Maggie Knaus © White House Historical Association
This 1889 hand-colored wood engraving from Harper’s Weekly depicts a state dinner
during the first Cleveland administration.
White House Historical Association (White House Collection)
The Working White House, a collaboration of SITES, the Smithsonian
Center for Folklife and Cultural Heritage, and the White House
Historical Association (WHHA), focuses on the men and women
who have served not only the First Family, but also the nation. The
continuing presence of these workers has been a defining element
in the culture of the White House since 1800, when John and
Abigail Adams and their small household staff moved into what
was initially called the President’s House. Over the next decades,
presidential families continued to hire their own servants, and in
some cases presidents brought slaves to work in the White House.
In the 19th century, the White House kitchen and several servant rooms were
located on the ground floor. Dolly Johnson, President Harrison’s cook, can
be seen in the family kitchen in this ca. 1891- 93 photograph. Often damp
and moldy, the ground floor was a difficult place for the White House staff to
work and live.
Photo by Frances Benjamin Johnston. Courtesy Library of Congress
THE WORKING WHITE HOUSE
The growth of the nation and the federal government contributed
to the development of a professional domestic staff, notes WHHA
historian William Bushong. “But its growing professionalism was also a
reflection of the expanding social, political, and diplomatic importance
of the White House and the symbolic power of the chief executive.”
Objects such as tools, housekeeping implements, reproduction period
clothing, and manuscript materials provide context for the exhibition’s
“day-in-the-life” focus on 19th- through 21st-century workers.
Two Centuries of Traditions and Memories
“During all my years of managing the White House . . .
my loyalty was not to any one President but rather to the
Presidency and to the institution that is the White House.”
— J.B. West, White House chief usher, 1957–69
The White House is a potent national symbol—the seat of executive power
and a ceremonial setting. It is also a home. While the president and his family
are temporary residents perhaps hoping to renew their four-year lease at
election time, members of the household staff are permanent employees
whose tenure has at times spanned five administrations. A dedicated
workforce of butlers, maids, engineers, housemen, chefs, electricians, florists,
ushers, doormen, carpenters, and plumbers operate, maintain, and help
preserve the 132-room executive mansion at 1600 Pennsylvania Avenue.
www.sites.si.edu
Text and images also explore themes ranging from skills and
responsibilities, to slavery and racial segregation, to relations with
the first family. Compelling oral histories of men and women who
have served presidents from William Taft through George W. Bush
are supplemented by an audio tour and a video that help exhibition
visitors understand the White House as a unique occupational setting.
Scheduling: Shannon Perry, 202.633.3138, [email protected]
Content/design: Parker Hayes, 202.633.3113, [email protected]
Participation fee: $7,500 per 10-week booking period, plus prorated shipping
Size: 2,000 square feet (185 square meters)
Security: Moderate
Tour begins: September 2008
SITEscenes
Curious about what your colleagues are doing with
SITES exhibitions? Here are some of the most creative
programs we’ve seen over the past few months. Who
knows? Your museum might be featured here next time.
1
The North Carolina Transportation Museum in Spencer used its Smithsonian
Community Grant, funded by MetLife Foundation, for “Learning to Fly,”
a special event held in conjunction with At the Controls: The Smithsonian
National Air and Space Museum Looks at Cockpits. Visitors took the
controls of two planes borrowed from a neighboring aviation museum,
observed a hot air balloon demonstration, and talked to pilots of an Army
Blackhawk helicopter flown over from the local National Guard base.
2
Spelunkers of all ages enjoyed storytelling, crafts, and cave critters (including
live bats) at a family fun day sponsored by California’s Pacific Grove Museum
of Natural History in conjunction with Caves: A Fragile Wilderness.
3
4
5
1
A child enjoys the colorful interior of a hot air
balloon after a demonstration.
Photo by David Watson, North Carolina
Transportation Museum
A Smithsonian Community Grant underwrote the cost of an open house
to encourage St. Louis-area teachers to use First Ladies: Political Role &
Public Image as a classroom teaching tool. Among the activities at the
Missouri History Museum event were a portrayal of White House dressmaker
Elizabeth Keckley, gallery tours, discussions of exhibition themes and
curriculum materials, and a lecture on Eleanor Roosevelt. The program
emphasized how the compelling narratives of the nation’s first ladies could
become entry points for classroom discussion of the exhibition themes.
Children are fascinated by sea animals as the Florida Museum of Natural History
in Gainesville learned at its opening festivities for In Search of Giant Squid.
Elementary school visitors in the “Billy the Squid” class were invited to “ogle an
octopus and navigate like a nautilus,” while older students investigated predator
avoidance through “inking, stinking, and other tactics.” Public programming for
the exhibition was made possible in part by a Smithsonian Community Grant.
2
3
An interactive “cave” challenges
young spelunkers’ abilities to
navigate through intricate passageways.
Photo by Sharon Blaziek, Pacific
Grove Museum of Natural History
ABC co-anchor John Quiñones discussed his career at a presentation on Latinos
in the media co-hosted by the Institute of Texan Cultures at the University
of Texas, San Antonio, and the Alameda National Center for Latino Arts and
Culture. The San Antonio native is featured in Our Journeys/Our Stories:
Portraits of Latino Achievement, which was presented by the Institute.
Staff at the Danville (VA) Museum of Fine Arts and History were elated
that many area schools chose Lunch Box Memories for their annual field
trip. Accessible and familiar, lunch boxes create a “bridge between
generations,” noted museum educator Sharon Hughes, adding that
the artifacts appeal equally to children, teachers, and parents. A
Smithsonian Community Grant helped fund public programming.
A storyteller portrays Elizabeth
Keckley, a woman who purchased herself out of slavery
and became Mary Todd
Lincoln’s dressmaker.
4
Courtesy Missouri History
Museum
The Midwest Museum of American Art in Elkhart, IN, put its own philatelic
imprint on The Art of the Stamp with a lecture on cachets by local graphic
designer Gary Bennett, an avid stamp collector and designer of three
International Philatelic Society show logos. Cachets, from a French term
meaning “picture,” are commemorative or souvenir designs added to an
envelope before it’s mailed. The resulting artwork is highly collectable.
Albany-area residents got a one-two punch with Sports: Breaking Records,
Breaking Barriers and the New York State Museum’s own exhibition,
Miracles: New York’s Greatest Sports Moments. Free public programs
included panel discussions, competitions on sports trivia and miniature
golf course design, a lecture series, and a film festival. An evening of
“pajama games” attracted dozens of pj-clad 6-to-12-year-old girls,
who had the run of the galleries with games, movies, and pizza.
5
Young visitors admire the sea
organisms they created for
a giant mural illustrating the
ocean’s diverse inhabitants.
Courtesy Florida Museum
of Natural History
At the opening of Our Journeys/Our
Stories, John Quiñones donates a pair
of shoes for Footprints and Imprints,
an exhibition of footwear worn by
influential Texans.
Courtesy Institute of Texan Cultures
202.633.3140
[email protected]
Born on Melrose Plantation,
Natchitoches, LA, Clementine Hunter
(1886/87–1988) began her artmaking
career late in life. Simple forms and
shapes crafted with dynamic color
combinations identify her canvases,
such as her 1970s Black Matriarch.
Ma
tt H
oeb
er m
ann
Gavin Ashworth
Oil on cardboard, 24”x16.5”, Collection
American Folk Art Museum, New York,
Gift of Mrs. Chauncey Newlin, 1991.23.4
ANCESTRY & INNOVATION
African American Art from
the American Folk Art Museum
Pearlie Posey (1894–1984),
born in Yazoo City, MS, worked
in the fields of a number of Mississippi Delta
plantations, where she socialized and quilted with
other women. Her 1981 Hens Quilt (detail), along with
Ancestry & Innovation’s other works, reflects the curators’ desire to make “visual associations and natural
transitions between media.”
Terry McGinnis
Cotton and synthetics, 71”x69”, Collection American Folk
Art Museum, New York, Gift of Maude and James Wahlman,
1991.32.2
Artmaking became an act of healing for Kevin Sampson after the tragic deaths
of his wife, a newborn son, and a favorite cousin. Nellie Mae Rowe’s imaginative
works drew on memories of Southern segregation and feelings of liberation during
the civil rights and women’s movements. Only five when her mother died, Pearlie
Posey learned to quilt from her grandmother. And quiltmaking was also in the
genes of Gee’s Bend quilter Leola Pettway.
“The life stories of many self-taught artists drove them into artmaking,” says
Brooke Davis Anderson, director and curator of the Contemporary Center of the
American Folk Art Museum, New York (AFAM). “To understand the material,”
adds Stacy C. Hollander, AFAM’s senior curator and director of exhibitions, “we
need to understand the context. At the same time, we can’t become so enamored
of the biography that we forget the artistry.”
Gavin Ashworth
Artistry is in abundant supply in Ancestry & Innovation, the much-acclaimed
exhibition of African American folk art curated by Anderson and Hollander and
originally on view at AFAM in 2005. Drawn from the museum’s rich holdings,
the exhibition juxtaposes nine complex and vibrant
quilts by rural Southern quiltmakers with 30 paintings,
sculpture, and works on paper by artists from the
urban North. Non-quilt works include art by an elder
generation of creators, such as Sam Doyle, David Butler,
Bessie Harvey, and Clementine Hunter; works by
contemporary masters such as Thornton Dial Sr.; and
provocative pieces by emerging artists such as Kevin
Sampson and Willie LeRoy Elliot.
The creative drive of Nellie Mae Rowe
(1900-1982), born in Vinings, GA, was
most certainly nurtured by her father,
an expert basketmaker, and her mother,
an experienced quiltmaker. Her 1978
Woman Warning Black Dog Not to Eat
Too Many Mulberries was inspired by
memories of her southern experience.
Crayon and pencil on paper, 19”x24”,
Collection American Folk Art Museum, New
York, Gift of Judith Alexander, 1980.26.1
The exhibition’s national tour has been made possible
by MetLife Foundation.
The National Endowment for the Arts provided generous support
to the American Folk Art Museum, New York, through its American
Masterpieces: Three Centuries of Artistic Genius initiative.
Son of a carpenter and missionary, David
Butler (1898-1997) was born in Patterson,
LA. His cut-out sculptures, such as
Rooster, ca. 1982, were made of flattened roofing tin that was readily
available in his rural community.
Painted tin and wood with plastic and wire,
24”x10.5”x3.5”, Collection American Folk Art
Museum, New York, Gift of Elizabeth Ross
Johnson, 1985.35.12
www.sites.si.edu
Scheduling: Shannon Perry, 202.633.3138, [email protected]
Content/design: Parker Hayes, 202.633.3113, [email protected]
Participation fee: $25,000 per 10-week booking period, plus prorated shipping
Size: 3,000 square feet (280 square meters)
Security: High
Tour begins: February 2008
Choreographer Rennie Harris works his Puremovement dancers in Asphalt Jungle, 2006.
“Hip-hop is this generation’s signature sound and reflects the personal and social struggles we face. It jumps and
spins to the pulse of the people, and allows us the freedom to express our thoughts and individuality through
improvisation. Dance, like any art, is only a vehicle to get you where you want to go.” — Rennie Harris
The Lar Lubovitch Dance Company rehearses Elemental
Brubeck to the music of jazz legend David Brubeck, 2005.
Photos © Rose Eichenbaum
“Lar Lubovitch’s choreography is remarkable. His work is
constructed so artfully that it’s beautiful from any perspective—
like a kaleidoscope.” — Rose Eichenbaum
Dancer-turned-photojournalist Rose Eichenbaum is the curator of
The Dancer Within, an exhibition of her photographs of celebrated
dancers and choreographers. Author of Masters of Movement:
Portraits of America’s Great Choreographers (2004) with degrees in
dance from UCLA, Eichenbaum traded the life of a performer for an
award-winning career in photography and teaching. SITES turns the
tables on Eichenbaum by asking about her creative process.
What’s The Dancer Within about? It’s a virtual tour of the world of dance in its many
dimensions. The photographs are captioned with excerpts drawn from my intimate
conversations with some of the greatest dancers and choreographers of our generation.
Exhibition visitors will recognize how dance enhances our culture, speaks to the issues
of our times, reflects the deepest of human emotions, and entertains us.
What’s your process? I begin with extensive research into the lives and careers of my
subjects, so when we meet face to face for the interview, I’m prepared with very specific
questions. The interview is also a way for us to get acquainted and for me to gain their
trust before I point my large intimidating lens at them. I hope to come away with an
honest portrayal—not merely a snapshot.
You’ve photographed your subjects on the stage, in their studios and homes, on city
streets, and in parks. Who determines the setting? I often allow the environment and
circumstance of our meeting to dictate how the photo session will go. Having artists
inform their own portraits and collaborate with me in the photographic process gives
them the opportunity to reveal something about their character and aesthetic. I’m not
interested in photographic formulas where everyone looks the same.
Describe a recent shoot. A few months back, I had the opportunity to photograph
Mikhail Baryshnikov dancing with his Hell’s Kitchen dance troupe on the condition that
the clicking of my camera not disturb the audience. Just prior to curtain I was warned
that Misha had excellent hearing and if he heard so much as a single click, I would be
asked to stop. I felt paralyzed, afraid my first shot would be my last. But I got lucky—
he didn’t hear me, and I managed to shoot the entire concert!
Is photographing live performance difficult? It’s challenging, but I enjoy it because it’s
where the vision of the choreographer comes together with the talent of the dancer.
Shooting from the wings brings me right into the performance. I’m standing on the
same floor as the dancers and can feel their energy, their power, even their sweat,
as they rush past me. It’s exhilarating.
What do most dancers share in common? Dancers, by and large, are very intelligent,
highly intuitive, and extremely creative. But what really makes them unique is their
ability to survive in one of the most difficult of professions. To be a dancer requires
courage, stamina, dedication, and deeply felt passion. It’s the dancers’ ability to
triumph over adversity that makes them extraordinary human beings.
Scheduling: Michelle Torres-Carmona, 202.633.3143, [email protected]
Content/design: Katherine Krile, 202.633.3108, [email protected]
Participation fee: $5,000 per 8-week booking period, plus standard shipping
This 1999 photograph of
Gregory Hines graces the cover
of Eichenbaum’s Masters of
Movement: Portraits of America’s
Great Choreographers.
“I love tap dancing. I love my tap
shoes. I get so inspired, so filled
up. It’s like I need a shot of whiskey—and I don’t even drink.”
— Gregory Hines
THE DANCER WITHIN
A Word with the Curator
IMMEDIATE Openings 2006-2007
While many SITES exhibitions are booked years in advance,
some are still available in the upcoming year. For complete
details, please visit www.sites.si.edu, fax the form on the next
page to 202.633.5345, or contact the Office of Scheduling &
Exhibitor Relations at 202.633.3140.
Exhibitions are listed by opening date.
Nov. 25 – Jan. 21
Feb. 3 – Apr. 15
April 21 – June 17
May 5 – July 15
Documenting China: Contemporary Photography and
Social Change
More Than Words: Illustrated Letters from the
Smithsonian’s Archives of American Art
Caves: A Fragile Wilderness
More Than Words: Illustrated Letters from the
Smithsonian’s Archives of American Art
June 16 – Aug. 12
Booming Out: Mohawk Ironworkers Build New York
June 23 – Aug. 19
A Magic Web: The Tropical Forest of
Barro Colorado Island
July 7 – Sept. 2
Caves: A Fragile Wilderness
Size: 200 running feet (60 running meters), est.
Security: Moderate
Tour begins: Spring 2008
202.633.3140
[email protected]
ISO...Great Exhibitions
Dear SITES:
I need the perfect exhibition on [Art], [Science], [History & Culture].
EXIT SAIGON, ENTER LITTLE SAIGON
Vietnamese America since 1975
Dick Swanson
In terms of scheduling, I need [instant gratification], [time to plan],
or [many options to consider]. Please send me more information.
SITES Exhibitions by Subject (Fully booked exhibitions are not included.)
Art
Ancestry & Innovation ($25,000)
Wondrous Cold: An Antarctic Journey
The Art of the Stamp ($8,000)
($3,500)
Jim Henson’s Fantastic World ($35,000)
More Than Words ($15,400)
History & Culture
NASA: 50 Years of Exploration through
Art ($40,000)
Becoming American ($6,500)
Booming Out: Mohawk Ironworkers
Build New York ($3,500)
Toon In ($25,000)
Covered Bridges ($3,500)
Transitions ($5,500, est.)
Diana Walker: Photojournalist ($5,000)
Visionary Anatomies ($5,000)
Documenting China ($4,000)
Science
A Vietnamese refugee family settles into its temporary dwelling on Guam in 1975. U.S. camps were
stopping points for migrants headed to America.
In Focus: National Geographic Greatest
At the Controls ($1,500)
Portraits ($5,000)
A Magic Web ($2,500)
Native Words, Native Warriors ($1,700)
Caves ($2,500)
381 Days: The Montgomery Bus Boycott
Earth from Space ($2,500)
Story ($5,000)
In Plane View ($5,000)
The Way We Worked ($8,000)
In Search of Giant Squid ($15,000)
White House Gardens (TBD)
The Working White House ($7,500)
Mr./Ms. ______________________________ title _________________________
organization _______________________________________________________
address ___________________________________________________________
phone number (
) ________________________________________________
e-mail _____________________________________________________________
Mailing address change:
Note name/title change
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Yes, I would like to receive SITES’ bimonthly e-newsletter.
Please tell us more about your program interests so that we can keep you informed
about new exhibitions. Please check all that apply.
Art
American Art
Architecture
Contemporary/Modern Art
Crafts
Decorative Arts
Design
Folk Art
Graphic Art
Painting
Photography
Prints/Drawings
Sculpture
Textiles
World Art
Children’s Exhibitions
History & Culture
Contemporary/Current issues
Gender Studies
Industrial/Labor History
Maritime History
Military History
Multi-Cultural Studies
African American
Asian
Hispanic
Jewish
Native American
Music
Political History
Popular Culture
Social History
Sports/Pastimes
Theater/Film
Transportation
U.S. History
Colonial/18th Century
19th Century
20th Century
World History
Science
Air & Space
Natural Sciences
Astronomy
Botany
Environmental
Geography
Geology
Marine
Zoology
Physical Sciences
Social Sciences
Anthropology
Archeology
Psychology
Sociology
Technology
Other topics
___________________
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Size range(s) (square feet):
under 1,000
1,000 to 2,000
2,000 to 5,000
over 5,000
Exhibition fee (up to):
$2,000
$5,000
$10,000
$25,000
$50,000
$50,000+
Smithsonian Institution
Traveling Exhibition Service
PO Box 37012 MRC 941
Washington, DC 20013-7012
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Penalty for Private Use $300
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Address Correction Requested
While stories of European
immigrants are well
documented, many museums
have only recently turned their
attention to later immigrants
from Asia. SITES and the
Smithsonian’s Asian Pacific
American Program are
therefore pleased to present
two exhibitions that explore the
migration, history, culture, and
on-going contributions of some
of the 13.5 million Americans
who claim Asian heritage.
Exit Saigon, Enter Little Saigon examines the American experience from the
perspective of people who, in many cases, were forced to flee their homes and
leave their possessions behind. Yet this is not an exhibition about tragedy. Instead,
it reveals the strength and stamina of Vietnamese Americans who have found
a new home in America. While equality and acceptance have not always been
assured, these immigrants are thriving as they find ways to blend traditional
Vietnamese folkways with an American outlook.
Singgalot: The Ties that Bind looks back
across four centuries of Filipino American
history. Relevant to today’s immigration
debate, the exhibition also addresses laws that
established national origins quotas and the
1965 immigration act that overturned them,
hastening a massive migration of Filipino
citizens into the United States.
SINGGALOT:
The Ties that Bind
Filipinos in America
from Colonial
Subjects to Citizens
Scheduling: Ed Liskey, 202.633.3142,
[email protected]
Content/design: Jeff Thompson,
202.633.3115, [email protected]
Participation fees: To be determined
Size: 125 running feet (40 running
meters), est. (Exit Saigon,
Enter Little Saigon)
70 running feet (50 running
meters), est. (Singgalot)
Security: Limited
Tours begin: Fall 2007
Filipino and other Asian immigrants were recruited
as early as the mid-1800s to accommodate the agricultural demands of the West Coast and Hawai’i. By
1900, nearly 125,000 immigrants worked on sugar
and pineapple plantations in Hawai’i alone.
PRST STD
US Postage Paid
Smithsonian Institution
G-94