Mayme clayton biography graphic organizer

Mayme Clayton collected books, magazines,

Toypurina (1761 - 1799): In 1785, Tongva shaman Toypurina participated in a conspiracy to destroy Mission San Gabriel at the age of twenty-four years old. Born and raised in the Gabrieliño village Japchivit near Mission San Gabriel, Toypurina saw firsthand how the missions destroyed her culture and people. When questioned about her role in planning the revolt, Toypurina defiantly stated: "I hate the padres and all of you, for living here on my native soil, for trespassing upon the land of my forefathers." Although banished to Mission San Carlos Boromeo in Carmel, after her release Toypurina went on to be baptized (though historians argue over her intention in doing so) and married a Spanish soldier named Manuel Montero. The couple produced three children.

Bridget “Biddie” Mason (1818 – 1891): Originally from Mississippi, Bridget Mason traveled as a slave to San Bernardino, California with her master from Texas. In 1856 Mason successfully petitioned the California Supreme Court for her freedom, and tested and determined the state’s status as “Free.” With her three children, Mason moved from San Bernardino to Los Angeles to purchase a portion of Spring Street and began a thriving career as a midwife. Mason was known as a philanthropist, giving of her time and money to the needy and incarcerated. In 1872 she and son-in-law Charles Owens founded the First African Methodist Episcopal church.

Caroline Severance (1820 - 1914): Carolyn Severance was instrumental in establishing the rights of women by working with women at a national and local level. In 1866 Severance, with Susan B. Anthony, founded the Equal Rights Association. In 1867, with Lucretia Mott, T. W. Higginson, and others, she founded the Free Religious Association. And in 1869, Severance and Lucy Stone founded the American Woman Suffrage Association. Severance moved to Los Angeles in 1875 and continued her efforts. She established kindergartens and began the Friday Morning Club, a women’s club and c

Class Blog

Inventing Abstraction: 1910 – 1925is a website accompanying a MoMA exhibition by the same name that showed in New York City from December 23, 2012 – April 15, 3013. When browsing this URL, the user learns about the artists and artworks that brought about the abstraction movement. Every page educates the user with another layer of context and historical significance about Abstraction’s inaugural years.

Sources (assets)

In the MoMA Department of Painting and Sculpture, Curator Leah Dickerman along with Curatorial Assistants, Masha Chlenova and Jodi Roberts curated Inventing Abstraction: 1910 – 1925 both in the MoMA’s physical museum space and online in the digital space. The curators were responsible for selecting what would be presented in the exhibit: paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance. After researching active artists between the years of 1910-25, they selected a total of 92 artists to be featured in the exhibit, and catalogued which artworks to include. Throughout the process the art had to be photographed, scanned, transcribed, recorded, restored, shipped, and installed until it was fully integrated into the exhibition.

Processes (services)

The process of creating the exhibition and website required the MoMA’s staff to reach out to people beyond the museum’s walls including collaborators (i.e. Columbia and Second Story) and sponsors for funding. The main participants in the making of this website and its contents were people from the New York MoMA, Columbia Business School, and a digital design agency, Second Story.

The Artist Network Diagram lives as a 16 ft by 25 ft diagram upon a wall in the exhibit, an interactive interface on the “Connections” page, and as a downloadable PDF on the website. Before becoming an interaction diagram on the website,the diagram was a collaborative effort by curators and designers from the MoMA, and data scient

Larry Harnisch, A Miracle of

Black Experience in the Fine Arts: An African American Community Arts Movement in a University Setting

Home > V6 > Black Experience in the Fine Arts: An African American Community Arts Movement in a University Setting

Steven L. Isoardi and
Michael Dett Wilcots

“We’re back in the same boat again,
unless you yourself learn to listen,
learn to try to listen,
to things that are creative.”
— Horace Tapscott, University of California, Riverside, April 11, 1972

Introduction

During the last ten to fifteen years considerable attention in jazz studies has focused on exploring the histories, ethos, aesthetics, and politico-cultural activism of African American jazz musicians and organizations within their communities during the 1960s and 1970s. The now substantial literature includes studies and/or primary source material on Sun Ra, the Association for the Advancement of Creative Musicians (AACM), The Pan Afrikan Peoples Arkestra and Union of God’s Musicians and Artists Ascension (UGMAA), the Black Artists Group (BAG), and the Collective Black Artists (CBA), among others. [1]

Pianist/composer/conductor/activist Horace Tapscott’s autobiography, Songs of the Unsung, was an important and first extended documentation of a vital and relatively unknown movement in Los Angeles from this period, the Arkestra and UGMAA. [2] Daniel Fischlin and Ajay Heble write of Tapscott as “one of the most pre-eminent African-American artists to articulate a musical philosophy in which both improvisation and community making are foregrounded....” [3] While George Lipsitz has favorably contrasted the memoir with the approach to jazz history in Ken Burns’s documentary Jazz, arguing, “Songs of the Unsung presents jazz as the conscious product of collective activity in decidedly local community spaces. The modernist city and the nation pale in significance in Tapscott’s account in comparison to the home, the

Mayme A. Clayton Library

South Sioux City Public Library 100 Years of Service

1. South Sioux City Public Library 100 YEARS OF SERVICE AND STILL GOING

2. 1909 The City of South Sioux purchased a building on East 18th street for city offices

3. 1919 In 1919, with support from the South Sioux City Woman's Club, a second-floor room in a then recently acquired building, located on East 18th St, was adapted to be the library.

4. The Approximate Location of the original library building

5. 1920 Fundraising for a new library begins

6. 1921 City Council appropriates $200 for a new building

7. 1922 After fundraising began and aid from our city 204 new books were purchased in 1922 reaching the 596 customers using the facility.

8. 1923, a remodel on the building resulted in a move for the library to the first floor.

9. 1925 Mrs. Charles Manning & Mrs. E.N. Swett were named trustees of the library fund.

10. 1929 Eagles Club donated $500 for the building

11. 1933 In 1933 the first Library Board was established; President S. T. Frum, Secretary Mrs. E. N. Swett, Treasurer Mrs. A. L. Mathwig and members Charles Lammert and Mrs. W. V. Steuteville.

12. 1933 In 1933, after a 3 to 2 vote, the City Council agreed to help fund a new library along with the Woman's Club and the Civil Works Administration. The City Council purchased the site (corner of West 23rd St & Dakota Ave) and an architect, Stanley Johansen, was hired to prepare for the new library.

13. 1934, the library hosted its formal opening, Marie Murphy was the first to be hired as a regular librarian (salary was $25 a month), meetings could be held in the club room, and fines were established.

15. 1934 Patrons could borrow 1 book at a time. Late fees were set at $0.02 per day.

16. Marie Murphy was hired as a regular librarian at a salary of $25 per month.

18. 1934 the Library Board established a $0.40 charge for meetings held in the club room, for heating expense.

This article traces how the