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#oberlin college libraries
brutalistinteriors · 3 months
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Mudd Library, Oberlin College. Ohio, US. Warner, Burns, Toan and Lunde.
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odinsblog · 5 months
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Tens of thousands of people visit Bank of America stadium to watch the Carolina Panthers play football each year – never realizing they are walking on top of lost remnants of a once-thriving Black neighborhood established in the aftermath of the Civil War.
The stadium itself is built directly atop a relic of segregated healthcare: Good Samaritan Hospital, the first private hospital built in North Carolina to serve Black patients. Built in 1891, this historic hospital was one of the oldest of its kind in the United States.
It was also the site of one of the “most horrific racial incidents in Charlotte's history,” according to Dan Aldridge, professor of History and Africana Studies at Davidson College.
A mob of 30 to 35 armed, white men invaded the hospital, dragging a man out of the hospital and into the streets – and shooting him dead in front of the building.
The concept of “urban renewal” destroyed Black neighborhoods, communities, businesses and homes all across North Carolina, especially between 1949 and 1974.
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Durham, for example, once had a prominent Black Wall Street, where Black businesses flourished; however, the historic community was almost completely destroyed by construction of the Durham Freeway.
Likewise, Raleigh once had 13 historic Freedmen's Villages, built entirely by men and women freed from slavery in the aftermath of emancipation. Today, only two are remaining, and Oberlin Village, the largest one, was cut in half by the construction of Wade Avenue.
Similarly, Charlotte's Brooklyn community was built by men and women freed from slavery in the late 1800s. Like many Black communities around the state, it was forced into an awful geographical location – on low-lying land where flooding, sewage and sanitation issues made life hazardous.
According to history in the Charlotte Library, the Brooklyn area was first identified on maps as ‘Logtown’ in the late 1800s – a name that matches closely with titles given to similar freedmen villages in the Triangle area, which were often called slang names like ‘Slabtown’ or ‘Save Rent’ due to their inexpensive homes.
In the 1900s, the area became known as Brooklyn, “a name that would become synonymous with the Black community until urban renewal.”
“It's a tragedy that so many stadiums were built on sites that were once Black communities,” said Aldridge. “They're poor neighborhoods. They're struggling neighborhoods. I won't romanticize them by claiming they're all like Black Wall Street, but they were people's homes and people's communities, and they were taken from them.”
Many historically significant Black sites were lost in urban renewal; likewise, many Black communities were forced to build in geographically unfit areas, making growing wealth and property more difficult – and more easily lost over time.
At its peak, Brooklyn was home to:
Charlotte's first Black public school
Charlotte's only Black high school
The city's first free library for Black patrons
The first companies to offer white collar jobs to Black workers
The first private hospital for Black citizens in Charlotte
Today, football players run up and down the Bank of America field for the amusement of thousands of cheering fans. However, in 1913, over a century ago, that same land had a very different story.
(continue reading) related ↵ related ↵
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uwmspeccoll · 1 year
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An Egyptian Mathematics Science Saturday
While Archimedes of Syracuse (287-212 BCE) is often considered the first to calculate the value of Pi (π), the Egyptians got pretty darn close a millennium and a half or so earlier, as evidenced by the Rhind Mathematical Papyrus. Copied by the scribe Ahmes sometime around 1650 BCE from an earlier text, the papyrus gives us a remarkable insight not only into Egyptian mathematics but also customs and culture, from taxation and farming practices to the exchange rate between beer and bread. It is named after Scottish antiquarian Alexander Henry Rhind, who acquired the papyrus sometime around 1858. Held by the British Museum since 1865, it is now suspected that the papyrus entered the antiquities market as a result of illegal excavations. 
Our facsimile of the papyrus was the result of fifteen years of scholarship by mathematician Arnold Buffum Chace. The first volume was published in Oberlin, Ohio by the Mathematical Association of America in 1927, with the second volume following in 1929. All of the above images are from the second volume, which contains photographs of the papyrus, as well as transcription transliterations and literal translations by Chace. Chace was assisted in his work by mathematician Henry Parker Manning and Egyptologist Ludlow Seguine Bull. Also included in the second volume is a supplement to the “Bibliography of Egyptian Mathematics” from the first volume, both of which were prepared by Raymond Clare Archibald. 
The first publication of the Rhind Papyrus was a translation into German in 1877 by August Eisenlohr. The Mathematical Association of America publication was part if a flurry of new scholarship surrounding the papyrus following advancements in scholarly understanding of Egyptian writing. In the preface to our edition, Chace notes the important 1923 translation by Eric Peet published by Liverpool University Press. Chace remarks that “Egyptologists ... will find philological matters fully discussed by Professor Peet,” while he intended for his work to be geared towards both mathematicians and the general public.
Both volumes were originally donated to the Library of the State Teachers College Milwaukee by the Carnegie Corporation of New York with their bookplate. 
Check out more Science Saturday posts here. 
-Olivia, Special Collections Graduate Intern
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foxcassius · 7 months
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i was in THE MIDDLE of putting together my cover letter and resume for a position in the OBERLIN COLLEGE AND CONSERVATORY LIBRARY and my ipad imploded 😐🔫
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kclisw · 2 years
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who is that black barbie flaunting her beauty and brains around campus? 𝐊𝐄𝐋𝐈 𝐒𝐖𝐄𝐄𝐓 is a pansexual journalism major who’s also minoring in business administration. for any further facts on the Brooklyn-native, scroll below the cut ! for plots + connections, like this post or i can come to you. open to anything beyond what i already have written out.
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𝐛𝐢𝐫𝐭𝐡𝐩𝐥𝐚𝐜𝐞 + 𝐝𝐚𝐲. ╳ ( brooklyn, ny + july 3rd, 1997. )
𝐬𝐞𝐱𝐮𝐚𝐥𝐢𝐭𝐲. ╳ ( pansexual w. masc lean. )
𝐚𝐬𝐭𝐫𝐨𝐥𝐨𝐠𝐢𝐜𝐚𝐥 𝐛𝐢𝐠 𝟑. ╳ ( sun: cancer, moon: pisces, rising: cancer. )
𝐨𝐜𝐜𝐮𝐩𝐚𝐭𝐢𝐨𝐧. ╳ ( boutique employee. )
𝐜𝐥𝐚𝐬𝐬𝐢𝐟𝐢𝐜𝐚𝐭𝐢𝐨𝐧 + 𝐬𝐭𝐚𝐭𝐮𝐬. ╳ ( senior + first gen student. )
𝐜𝐨𝐥𝐥𝐞𝐠𝐞 𝐩𝐫𝐨𝐠𝐫𝐚𝐦. ╳ ( liberal arts. )
𝐬𝐩𝐨𝐫𝐭𝐬 + 𝐜𝐥𝐮𝐛𝐬. ╳ ( cheerleading, fashion guard, and yearbook. )
𝐠𝐫𝐞𝐞𝐤. ╳ ( omega chi upsilon. )
𝐢𝐧𝐭𝐞𝐫𝐞𝐬𝐭𝐬. ╳ ( writing + blogging, beauty + skin-care, acrylic nails, dance + cheerleading, fashion, body jewelry. )
𝐥𝐚𝐬𝐭 𝐩𝐢𝐧𝐧𝐞𝐝 𝐥𝐨𝐜𝐚𝐭𝐢𝐨𝐧. 📍 ╳ ( grande oak library. )
𝐦𝐨𝐬𝐭 𝐩𝐥𝐚𝐲𝐞𝐝 𝐚𝐫𝐭𝐢𝐬𝐭. ╳ ( ₁ lil durk ₂ summer walker, ₃ fivio foreign. )
𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐩𝐚𝐫𝐚𝐥𝐥𝐞𝐥𝐬. ╳ ( regina george, chanel oberlin, layla keating, alison dilaurentis. )
+ 𝐭𝐫𝐚𝐢𝐭𝐬. ╳ ( honest, reliable, persistent, creative. )
- 𝐭𝐫𝐚𝐢𝐭𝐬. ╳ ( self-centered, greedy, apathetic, vindictive, sarcastic. )
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CONNECTIONS. ┊
( CONNECT NAME. ) BOYFRIEND/GIRLFRIEND. ࿐ despite what others think of MUSE A, MUSE B has always seen the good in her; it’s almost like they’re the only person to see innocence within her deviousness — which she adores, obvs. the couple are deemed relationship goals amongst their peers and they have ( ? ) years under their belt to back it up. however, everyone fails to notice the true issues within the relationship that seems perfect from the outside looking in.
( CONNECTION NAME. ) BEST FRIEND. ࿐ ever since MUSE A relocated to THU just in time for her freshman year of college, she met MUSE B and they immediately hit it off. her best friend was everything she saw in herself: beautiful, loyal, and charming; which is why they’ve remained friends all these years.
( TYREK DAVIS. ) EX-FLING. ࿐ during their time at THU, MUSE A and MUSE B never got along thanks to their tumultuous 'situationship' from the past. initially, it was the perfect arrangement as they both received the perks of a relationship without the hassle of a real commitment but one fight after another, it grew tiresome and after MUSE B publicly embarrassed her the two never spoke again; but MUSE A didn’t forget.
other wanted connects. ┊fashion guard and/or yearbook club members, close friends, campus associates, boy toys.
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jedivoodoochile · 2 years
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Dahlov Ipcar (American painter, illustrator and author) 1917 - 2017
Encounter, 1967
oil on canvas
59.69 x 49.53 cm. (23.5 x 19.5 in.)
signed lower right, titled on original label verso, giving date of 1967 and price of $750
also label from 1974 Festival of Art (no location, possibly Rockland, Maine)
private collection
© photo Thomaston Place Auction Galleries
Dahlov Ipcar was an American painter, illustrator and author. She was best known for her colorful, kaleidoscopic-styled paintings featuring animals – primarily in either farm or wild settings.
Ipcar was born November 12, 1917, in Windsor, Vermont, the younger of two children, to parents William and Marguerite Zorach. She was raised in Greenwich Village, New York City; attended the City and Country School, Caroline Pratt's famous progressive school; and grew up surrounded by bohemian influences. Encouraged by her parents, she started painting at a very young age. She briefly attended Oberlin, dropping out after only one semester, frustrated with the academic restrictions on her artistic expression.
In 1936, at the age of 19, Dahlov married Adolph Ipcar, a young man hired to tutor her in math for her college tests. They spent that year in New York City, with Adolph working as a math tutor while Dahlov taught art two days a week. The following winter, they decided to move into the extra farm house on her parents' property in Georgetown, Maine, and started a farm of their own. They became modern-day subsistence farmers: growing their own food, raising animals and their two sons, and selling eggs and milk on the side for extra money. Dahlov continued painting throughout her life as both a source of pleasure and income. In addition to painting, she wrote four fantasy novels, wrote and/or illustrated numerous children's books, and crafted three-dimensional cloth sculptures. Her marriage lasted until 2003, when Adolph died at the age of 98 after a brief illness.
Dahlov died on February 10, 2017, at the age of 99.
In 1939 at the age of 21, she had her first solo exhibition at the Museum of Modern Art in New York City, called Creative Growth, the first of many solo shows over the next forty years.
In the 1940s and '50s, Dahlov's art was influenced by the prevailing style of Social Realism as best illustrated by her paintings of farm workers accompanied by their heavy draft horses and domestic farm animals.
In 1945, she illustrated The Little Fisherman, her first children's book, a story written by noted children's author Margaret Wise Brown. The book is still in print. Since then, Dahlov has gone on to write and illustrate thirty children's books of her own. She has also written four fantasy novels for a slightly older audience, as well as a volume of short stories for adults. While her art in general might be described as wild colors and cheerful, her writings for adults turn to a darker, almost grim intertwining of reality and fantasy. Many of her children's books are being reprinted for a whole new generation to enjoy.
By the '60s and '70s, her work began to take on a new direction. Intricate patterns and geometric designs have become her artistic signature; she always remained outside current art movements.
In addition to easel paintings, illustrations, and soft sculptures, Dahlov has also completed ten large-scale mural projects for public buildings, two of them for U.S. Post Offices in La Follette, Tennessee, and Yukon, Oklahoma. The remaining murals may be seen at several locations in Maine as well; including the children's room at the Patten Free Library in Bath, and a 106-ft. panorama of Maine animals in the Narragansett Elementary School, Gorham. Golden Savanna, a 21-ft. mural of African wildlife, can be seen in the atrium of the Shriners Hospital for Crippled Children in Springfield, Massachusetts. Many of her works can also be seen in Brunswick, Maine's Mid Coast Hospital, where she was well cared for in the end.
Dahlov's works are now in the permanent collections of museums such as the Metropolitan, Whitney, and Brooklyn in New York. She is also represented in the leading art museums of Maine, as well as in many corporate and private collections throughout the country.
Dahlov received honorary degrees from the University of Maine, Colby College and Bates College. In April 1998, The University of Minnesota honored Dahlov with The Kerlan Award for Children's literature.
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lboogie1906 · 1 year
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Robert Nathaniel Dett (October 11, 1882 – October 2, 1943), from a precocious five-year-old piano player to an internationally known choral director, composer, concert pianist, and poet, became champion for the preservation of the African American spiritual which he called authentic American folk music: He dedicated his life to finding a musical form to bridge the gap between the music’s simple origins and its concert performance. He was born in Drummondville, Ontario, a town founded before the American Civil War by fugitive slaves. His early experience included absorbing spirituals his grandmother sang, playing piano in church, and studying piano locally. He then majored in piano and composition at the Oberlin Conservatory of Music in Ohio. He was the first African American to graduate from Oberlin after winning Phi Beta Kappa honors. His formal education continued throughout his life including studies at Harvard University where his 1920 essay “Negro Music” won a prize. He received a MA from the Eastman School of Music. He published his only book of poetry, The Album of the Heart. He began touring as a concert pianist. He married Helen Elise Smith, a pianist and the first African American graduate of the Damrosch Institute of Musical Art. After teaching at several HBCUs in the South, he became the music director at the Hampton Institute. His 40-voice Hampton Singers performed at Carnegie Hall in 1914. His choirs gained fame singing across the US and at the Library of Congress. His choirs performed at the White House before Presidents Herbert Hoover and Franklin Roosevelt. He and his choir toured five European countries. He published more than 200 piano, vocal, and choral works. Major chorus works include Chariot Jubilee and an oratorio, The Ordering of Moses, which was drawn from his master’s thesis at the Eastman School of Music. Popular favorites were Listen to the Lambs, Don’t be Weary, Traveler, and Juba. He moved to Rochester, taught privately, and led a sixteen-voice chorus for weekly radio broadcasts. He continued to teach at several colleges. He was survived by his wife and two daughters. #africanhistory365 #africanexcellence https://www.instagram.com/p/CjkiGlXLdR5/?igshid=NGJjMDIxMWI=
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hallowsrp · 1 year
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october 25, 1992. 
it is with a heavy heart that we must announce the passing of our beloved daughter, sarah. a bright girl who volunteered her free time at the library and tutoring children at the local middle school. she always had a kind word to share with others and chose to remain in hallows instead of moving away for college to remain close to her mother, sandra oberlin. these two along with my son, wyatt, have been the light of my life. however, everything feels more somber and bleak now without the constant laughter of my little girl. i have been writing for this paper for over thirty years and never imagined someday i’d be writing a farewell of sorts for my own daughter. with the knowledge that many people in town considered sarah a friend, we extend the invitation for everyone to attend her funeral which will be held the morning of november 1st, considering the town’s adoration for halloween celebrations, we found it prudent to wait an extra day so that sarah may be honored with a whole day to herself. 
i feel it is best to leave the investigation up to the police department who are working hard and have my full trust when it comes to the investigation. i’m sure it has come to the attention of everyone around hallows that sarah has not only passed away but was murdered in our own home. dear reader, i know you can’t begin to imagine the horror that my wife felt when she found sarah laying there in her own bedroom covered in blood. it hurts my heart and fills me with rage to type the words out. anyone that has any leads is asked to please report information to the sheriff directly. thank you to everyone who cared about sarah. there is no doubt in my mind that those responsible will be brought to justice. 
- wilfred oberlin.
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ultraheydudemestuff · 2 years
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The Vermillion Institute
150 E. Main Street
Hayesville, Ohio 44838
The Vermillion Institute located at Main and College Sts. in Hayesville, Ohio, was a co-educational school that during the mid to late nineteenth century was a preeminent center of higher education that trained people who became prominent in various professions. At one time it was a rival to Oberlin, Kenyon, or Denison. Founded 1843 as one of the first institutions of higher education in north central Ohio, it was chartered by Ohio Legislature March 4, 1845. Originally Baptist, by 1849 it became Presbyterian-affiliated. Its cornerstone was laid July 4, 1845. Future U. S. President Rutherford B. Hayes was said to have attended the dedication, music for which was provided by the Jeromesville, Ohio band. It was built by Edwin Hubbard and its design is credited to Ashland native Ozias S. Kinney (1811–1869), who later was an architect in Chicago.
This 35 by 50 ft. three-story brick building with gable roof and two-stage tower with pinnacles is the surviving main building of the Vermillion Institute. The ground floor was an assembly space used for daily chapel services. The second floor had classrooms and a library and meeting rooms for literary societies were on the third floor. During its operation, two-story flanking frame buildings served as men's and women's dormitories, but these no longer stand. The thick brick walls with flat-arched lintels over its numerous windows enabled the building to stand through years of neglect.
At one time this academy/college had an enrollment of about 600 students who came from 13 states. Longtime leader at the Vermillion Institute was Professor Saunders Diefendorf, a Yale-educated Presbyterian minister, who was the principal in 1851. Enrollment declined as students and faculty left to fight in the American Civil War and the institute went into a long slow decline. Diefendorf left Hayesville in 1866 after the Vermillion Institute was not accepted as the site for the new Presbyterian college, which instead went to Wooster. After its rejection as the site of a new Church of God college, located later at Findlay, Ohio, the institute property was sold back to Hayesville and operated as a private academy. Diefendorf returned to head this reorganized school, which was a preparatory academy to the College of Wooster. The building later served the home of the Hayesville High School (1886–1929).
The 1929 opening of new combined elementary and high school at the opposite end of the village meant the end of public use of the Vermillion Institute. It was partially used for social organizations but was largely abandoned. A tall stone fountain with memorial plaques once stood in front of the building, until its removal in the 1950s to nearby Kendig Park. On March 29, 1978, the Vermillion Institute was added to the National Register of Historic Places. In 2011, the property was purchased by preservation consultant Steven McQuillin of Steven McQuillin and Associates, a historic preservation consulting firm that has been in business for 35 years, and an extensive rehabilitation was begun, with assistance from the Ohio Preservation Tax Credit. The two-foot-thick brick walls of the building were repointed and strengthened by filling the chimney cavities with reinforced concrete and pouring a concrete wall inside the rubble sandstone base. Masonry walls were braced and repointed and the wood structure removed. Deteriorated hewn wood trusses were replaced with new wood trusses. New structure re-creates floors at their original levels.
The long-missing tower was reconstructed and contains a two-level office space featuring cherry woodwork and stained glass windows, plus winding staircase leading to the main two-story cherry staircase. The ground floor is a meeting space that is also available for rental and can seat 50-75 guests for meals and 100 guests for events. The second floor has a great room space, combining kitchen and living areas. The northeast corner has a dining room with table built from old timbers taken from the building and whose walls will have scenic murals. The third floor has a library on the east side with books on preservation and historic atlases and two rooms connected by a large bathroom on the west side. The fourth floor has an open space overlooking the library and a rear bedroom. The Vermillion Institute is open for tours by appointment and is available to area community organizations. Open houses are held in the summer and around the holidays.
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from-our-boxes · 2 years
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Lya Finston - Artist Interview
by Emma Varano
Lya Finston is an interdisciplinary artist currently working at Bucknell University as a TA and Shop Technician in the Printmaking Department. She graduated from Oberlin College in 2018 with a BA in Studio Art and German Language. During a two year span in Chicago, she was a fellow at Spudnik Press, an Access Services Assistant at the Ryerson Burnham Library at the Art Institute of Chicago, and a publishing assistant at Hoofprint.
Her work uses the media of sculpture, animation, and various forms of printmaking to illustrate her interests in the supernatural, folk tales, and contributions to the secular Jewish community as well a sustained research into the diaspora of Jewish culture.
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Blessing for the Home, 2021. Wood and linoleum relief.
You said in your artist statement that a major part of your practice is contributing to the already limited secular Jewish world. Would you be willing to explain what secular Judaism means to you?
Articulating that I’m interested in exploring the world of secular Judaism is an important distinction for me because the messages and motivations behind my practice aren’t religious ones, despite my religious imagery and subject matter. I also make this distinction in order to cast a wider net over my field of research, as Judaism is not only a faith, but an ethnicity as well.
This distinction has a lot to do with my personal relationship with Judaism. I was raised attending a Conservative synagogue and Hebrew school, but recognized shortly after my Bat Mitzvah that I didn’t believe in God. Nonetheless, my love and adherence to the tradition, community, and culture of Judaism has always remained the same. Despite my atheism, I’m still a practicing Jew. My identity simply shifted from faith-oriented to a more cultural experience.
Investigating Jewish themes in my work has been my way of entering into a research-based relationship with my religion. I want to know everything about Judaism – especially where Hasidic and Kabbalic mysticism and the diasporic folk culture of Eastern Europe is concerned. The more I read, the more I’m moved to use illustration as a means of further investigation and comprehension.
When I was somewhere around 8 and 10 years old, my orthodox Hebrew school teacher passed pencils and paper out to everyone in my class and prompted us to draw what God looked like. After only a few seconds, she announced, “That’s right: You can’t draw God because He doesn’t have an image!” and collected the materials back from us. I remember feeling particularly struck and conflicted by this exercise. I knew exactly what God looked like. He looked like Raffi from the children’s song CD cover, but with a longer beard, and I was excited to finally draw him.
Of course, I understand now where she was coming from. There are very strong rules about visual representation in Judaism that stem from biblical Hebrew law against idolatry. For this reason, I didn’t encounter a tremendous amount of Jewish artwork growing up until I started looking at secular Jewish folk art and historic Judaica, which is a large part of why I’ve become so interested in secular Jewish culture. I think this is also why I’m so drawn to Christian iconography. Such magical and exciting things happen when artists are prompted to depict the unseeable, unknowable, and yet all-important. I want to be part of this tradition of artistry despite, and largely because of my Hebrew school teacher’s wishes.
What keeps you charged as an artist? How do you deal with lulls in creativity?
Reading always helps. Also, going to art museums, openings, and conferences. When I graduated college, I got myself to keep making by signing up for print exchange portfolios and saying yes to every commission that came my way. I recognized pretty quickly that deadlines were important for me, and these were the best ways I found to implement them outside of academia. I also hit the ground running applying to lots of shows. The more I applied to things with the same old pieces of work, the more motivated I was to make new work.
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Orphanim (Angel) 2021. Wire, relief prints on paper.  
Do you have any advice for those pursuing a BFA/BA in the arts?
The worst thing you can do is stop making work. Just keep making no matter what!
Also, don’t be afraid of your professors! Talk to them, go to their office hours, become their friends, and recognize them for the incredible artists and resources that they are. I feel so incredibly lucky for the relationship I have with my undergraduate printmaking professor. We texted, emailed, and talked on the phone throughout my entire graduate school application process. She saw every draft of everything I wrote and was so generous with her feedback despite being across the world in Estonia. During my time as a printmaking shop tech at Bucknell, I was constantly asking her advice about the way she runs her shop at Oberlin.
Despite being so smart and experienced, she’s also just a great friend to me and I love hanging out with her at conferences. Don’t sleep on the opportunity to build relationships like these.
What are some of the most valuable things you have learned from all of the different locations that you have lived and interacted with within the past two years?
This experience taught me that, particularly as an artist, it’s important not to get too tied down anywhere early on. It was really hard for me to think about leaving Chicago at first because I loved the friends and community I found there. Eventually, it was urban pandemic anxiety that pushed me out, which I’m honestly grateful for because it led me to my first paid job in printmaking since undergrad. It’s important to keep your options open when you’re young and to be willing to relocate if it means advancing your career and your practice. You also need to remember that moving doesn’t mean losing the friends you made. Building a wider geographical network of friendships means you’ll always have a buddy wherever you go :)
What did you take from your time in Chicago?
My time in Chicago taught me that continuing to make art in heavily resource-dependent media like printmaking is really hard outside of academia. BUT, it’s by no means impossible, and you grow and learn so fucking much from making it work. I’ve made the most incredible relationships with other printmakers and their spaces through this process. These relationships turned into the friendships and mentorships that allowed me to continue making prints outside of college, and that bolstered my graduate school application four years down the line. I’m certain that I wouldn’t have gotten into the programs I did without these references and experiences, and I certainly wouldn’t have been truly ready to pursue my MFA without this time off in the “real world.” My time in Chicago also made me feel confident that, even if I don’t go into academic teaching after completing my MFA, I can get another job and keep making my work on the other side.
And, lastly, any favorite cafes or spots you loved spending time at in Chicago?
FYI: I lived on the westside in Pilsen/Little Village, so this list is going to be pretty partial to that neck of the woods.
Cafe Jumping Bean: Great cafe on 18th st in Pilsen
Cafe Mustache: Probably my favorite coffee shop in Logan Square
Any Panaderia in Pilsen or Little Village: I went to Nuevo Leon on 18th st and La Central on Cermak the most. When you go in, you grab a metal tray and a pair of tongs and walk around the displays picking out yummy pastries to buy. A fun and delicious experience!
Any Michoacan ice cream place in Pilsen: You can find their paletas in most corner stores around the city. I recommend the spicy ones!
Athenian Candle Co: Cool candle shop in Greektown with all kinds of soap and incense that will bring love and money into your life.
Ghareeb Nawaz: Yummy Indian/Pakistani food in Greektown/UIC area
Jibaritos y Mas: Yummy Puerto Rican food in Logan Square. If you don’t know already, Jibarito is a kind of sandwich with fried plantains instead of bread – highly recommend!
Skylark: Best bar in Chicago! Cheap, divey, and hip with amazing tater tots. It’s cash only, so come prepared. Easily accessible via the Western bus.
Chicago Athletic Association: A cool historic (?) hotel across the street from the Art Institute that has an awesome bar on the second floor called the Game Room. The ambiance is so cool in there and always made me feel super fancy while sticking to my budget. Besides bocci ball, pool, and shuffleboard, they also have a great happy hour special that I used to indulge in far too frequently after work. You can get a cheese burger, a generous side of fries, a shot, and a random shot (usually a weird liqueur) for only $10! The Drawing Room (which you have to walk through to get to the Game Room) is a super beautiful space to work in, and you can even order oysters if you’re feeling extra fancy.
Taqueria Tayahua: My favorite Mexican restaurant. Near the intersection of Western & 24th St
Taqueria El Milagro: Amazing Mexican food on El Milagro’s own tortillas! If you’re buying tortilla chips or tortillas in the store, El Milagro is the way to go. I highly recommend going to their Taqueria on Blue Island in the winter time so you can get some Champurrado, which is a delicious kind of thick hot chocolate with masa in it.
Chile Toreado: Great Mexican place in Mckinley Park! I ordered the carne en su jugo when I went, which was one of the best things I’ve ever eaten lmao.
Huck Finn: A classic-style diner on Archer in Mckinley Park. Their claim to fame is giant donuts the size of your head (and bigger!). It’s super fun to go there with friends and split one.
Museum of Mexican Art
Intuit (Folk and Outsider Art Museum)
DePaul Art Museum
The Newberry Library
Matchbox Bar
Garfield Park Conservatory
Inga Bookshop
The Musicbox (movie theater on north side)
Gene Siskel Theater (pretty sure you’d get a discount!)
Chicago Cultural Center
Buddy Chicago
Fireside Bowl
Ryerson Library (where I worked! It’s inside the Art Institute – first left after the gift shop)
Promontory Point in Hyde Park
Hyde Park Art Center (they also have a cute cafe)
Manny’s Cafeteria and Deli: Jewish Deli!
The Empty Bottle
The Hideout
Schubas
Harold Washington Library
South Side Community Art Center
Events/Programming
Zine Mercado
Grabadolandia
Chicago Zine Fest
Zine Not Dead
Chicago Art Book Fair
Things to avoid:
Taste of Chicago (so crowded I wanted to die)
Being downtown/using CTA during Lollapalooza
Spoke & Bird (gentrifying coffee shop)
WNDR Museum (stupid instagram “art” organized by rich white people)
Slippery Slope (it can be fun if you have lots of friends there to protect you, but every time I’ve ever gone, I ended up in an uncomfortable situation with a creepy man)
If you’re ever traveling via CTA alone at night and you’re feeling a little nervous/unsafe, always take the train cars that are as close to the front of the train as possible, if not the closest. You’re less likely to be bothered up there since you’re super close to the conductor/CTA staff.
You can find Lya’s work on her Instagram account @thehottestdjinmiami and on her website at https://lfinston.wixsite.com/lyafinston
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New Year, New (Old) Sounds in the Public Domain!
On January 1st, 2022, all sound recordings made before 1923 entered the public domain, an estimated 400,000 sound recordings that document the beginning of recording technologies and include a rich variety of musical styles, such as vaudeville, ragtime, and early jazz. Some notable examples highlighted by the Association for Recorded Sound Collections are “Crazy Blues,” performed by Mamie Smith and her Jazz Hounds in 1920, and a 1917 recording of “Dixieland Jass Band One-Step” by the Original Dixieland Jass Band. The 78 rpm records seen here are part of the Oberlin Conservatory Library’s James R. and Susan Neumann Jazz Collection, and the sheet music is part of the Stanley King Jazz Collection.
Learn more about the Music Modernization Act, passed by Congress in 2018, that allows these recordings to enter the public domain. Listen to pre-1923 sound recordings available at The Public Domain Review, the Internet Archive, and the National Jukebox at the Library of Congress. And lastly, join the virtual party for Public Domain Day on January 20th: A Celebration of Sound. Cheers!
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Edmonia Lewis and Oberlin College
The United States Postal Service has announced that artist and sculptor Edmonia Lewis will be featured on a Forever Stamp, the 45th stamp in their Black Heritage series. The stamps will be dedicated and go on sale on January 26, 2022.
Edmonia Lewis was born in New York or Ohio in 1843 or 1845 to a free Black father and Native American mother. Also known as Mary Edmonia Lewis, not much is known about her early life. Lewis attended the Oberlin Preparatory Department from 1859-1860, and the Literary Department (women’s course) from 1860-1862. Unfortunately, Lewis was accused of poisoning two of her white classmates with wine in 1862 (see “Spiced Wine” by Geoffrey Blodgett, Oberlin Alumni Magazine, February 1970). The case was later dropped after being represented by John Mercer Langston. Later, in February of 1863, she was accused of (later acquitted) stealing paint brushes and paints from an art teacher in Oberlin. Because of the incidents that Lewis was involved in, she was no longer allowed to continue in the women’s course and subsequently left Oberlin for Boston where she started a career as a sculptor. Lewis sculpted noted abolitionists, and is well known for using Italian style to depict Native American subjects.
The College Archives does not hold a personal paper collection for Edmonia Lewis, but we do have a pencil drawing, pictured above, located in our Paintings, Prints, and Drawings collection. This drawing was done by Lewis for Clara Steele Norton (Oberlin College A.B. 1862) upon her announcement to be married to Judson Cross (enr. 1855-1862). This drawing is sometimes referred to as A Wedding Gift or Untitled Drawing of Urania. (See “A Wedding Gift of 1862″ by Marcia Goldberg and William E. Bigglestone, Oberlin Alumni Magazine, June/July 1977).
We also have a variety of articles and other secondary sources on Edmonia Lewis. Please contact the College Archives if you would like to know more about Edmonia Lewis and her fascinating artistic legacy.
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cinematicosmos · 3 years
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Our Last Post - but this is not goodbye!
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Just a few parting shots from the Science Library. 
Above, a portion of a book display for Black History Month, “Celebrating Black achievement in science, and highlighting the need to continue to diversify STEM education and disciplines.”
Below, new journal issues continue to be received in print - not as many as were received just a year ago, for sure, as we rely on online access.  But plenty of good reading here!
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Books on the popular science reading shelves, seen below, beckon!  Winter Term is a fine time to read beyond the syllabus and explore new ideas.
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Look for future posts from the Science Library on the various social media channels of Oberlin College Libraries:  Instagram, Twitter, and Facebook, and the Libraries news feed.
Thanks for checking in - we hope to see you in the library soon!
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cindysku · 3 years
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Cool Virtual Escape Room. 
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Dale Rothenberg, OC’13, reflects on his discovery of film photography while at Oberlin.  Pipo Nguyen-Duy (pictured below) is Oberlin’s award-winning photography professor.  You can see examples of Pipo’s work here. 
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