The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Scope and Contents:
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Administrative files consist of some general correspondence, building lease material and rent payments, insurance policies, board and staff meeting notes, marketing plans, and memberships in various print organizations. Also included are inventory lists, calendar books, and binders on printing techniques.
Financial records consist of appraisals, general budgets for the company, financial statements and reports, and receipts. Also included are general invoices from 1992 to 2013, invoices for advertising, sales, shipping, and some supplies; and invoices for legal and financial services.
Artist files consist of artist statements, correspondence, inventory of works, resumes, and printed materials for artists represented by the publishing company. Some of the represented artists include: Claudia Bernardi, Edward Curtis, Dan Rizzie, Victor Ramirez, and Alberto Rios. Also included are files on James Turrell and his Roden Crater project such as the project journal, proposal and agreement, site studies, and notes.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Commission files consist of agreements the Segura Publishing Company made with various organizations and individuals to exhibit and sell prints of artwork for a percentage of the profits. Materials include correspondence, consignment agreements, some invoices and price lists, slides of artwork, and some printed material. Some of the partnered organizations include: George Adams Gallery, Art in Embassies Program, Aldo Castillo Gallery, Jean Efron Art Consultants, Hispanic Research Center, Microsoft, Museum of Latin American Art, Santa Clara University, Walker Art Center, and Yale University Art Gallery.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
Photographic material consists of photographs of Segura Publishing Company and some of its workers, photographs of Joe Segura and Lisa Sette, photographs and slides of artwork, and photographs of prints on display.
Joe Segura papers consist of documentation on Joe Segura's work outside of the Publishing Company, primarily related to his teaching career at Arizona State University in the 1990s. Materials include correspondence, letters of recommendations, faculty schedules, and materials for courses such as "Photo Processes for Printmaking," "Photogravure," and "Collotype Printing." Also included are a resume, lecture note cards, and a small sketchbook.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1979-2013 (2.2 linear feet; Boxes 1-3)
Series 2: Financial Records, 1988-2013 (1.5 linear feet; Boxes 3-5)
Series 3: Artist Files, 1984-2014 (0.8 linear feet; Boxes 5-6)
Series 4: Exhibition and Project Files, 1994-2008 (0.4 linear feet; Box 6)
Series 5: Commission Files, 1988-2012 (4.0 linear feet; Boxes 6-10)
Series 6: Printed Material, 1981-2009 (0.3 linear feet; Box 10)
Series 7: Photographic Material, circa 1983-2004 (0.2 linear feet; Box 11)
Series 8: Joe Segura papers, 1976-2013 (1.2 linear feet; Boxes 11-12)
Biographical / Historical:
Joe Segura (1946- ) is a printmaker currently residing in South Bend, Indiana. Segura completed his studies at Southern Illinois University earning both a BFA and MFA in Painting and Drawing in 1975 and 1977. Segura, along with Lisa Sette, founded the Segura Publishing Company, Tempe, Arizona, in 1981. The company produced fine-art limited edition prints and monotypes by leading contemporary artists. In addition to his work at Segura Publishing Company, Segura has also taught and served as the studio manager for the print facility at Arizona State University.
Provenance:
Donated in 2018 and 2022 by Joe Segura.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Contains photographic prints, in formats including albumen prints (many hand-colored), collotypes, gelatin silver prints. All images but one are of Japanese origin and depict Japanese people and scenes. The other image depicts a group of yogis in India.
Biographical / Historical:
Noted screenwriters Gloria Katz (October 25, 1942-November 25, 2018) and Willard M. Huyck Jr. (September 8, 1945-) met as film students in the 1960s and married in 1969. They worked closely with George Lucas, writing for films such as American Graffiti, Star Wars (uncredited), and Indiana Jones and the Temple of Doom. They also wrote, with Huyck directing and Katz producing, Howard the Duck.
In addition to their careers in the film industry, Katz and Huyck collected art, with particular interest in Japanese photography from the 19th century to the present era. Images from their collection were published in Views of Japan (Steidl, 2017). The Freer Gallery of Art and Arthur M. Sackler Gallery acquired their collection of Japanese photographs in 2018; the 19th century photographs came to the Freer and Sackler Archives. Katz and Huyck's interests extended beyond Japan, as evidenced by Colin Murray's "Group of Yogis," donated to the Archives in 2015.
Local Numbers:
FSA A2015.05
Related Materials:
For 20th and 21st century Japanese photographs acquired from Gloria Katz and Willard M. Huyck Jr., see the Gloria Katz and Willard M. Huyck Jr. Collection of the Arthur M. Sackler Gallery, S2018.2.1--S2018.2.349 and S2018.13--S2018.16.
Restrictions:
The collection is open for research use.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Shown in "Stonewall" display, Archives Center display case, June-July 2000.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Event occurred June 27, 2009 at The Bachelor's Mill, Washington, D.C. Image shows face of African American man.
Local Numbers:
AC1146-0000040.tif(AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Chicago Tribune newspaper, November, 1985. Cover illustration: photograph of Aidan Quinn and Ben Gazzara.
Local Numbers:
AC1146-0000041.tif (AC Scan No.: cover).
Exhibitions Note:
Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Story by Annette Roman, ink by Walden Wong. Cover depicts a boy and girl riding a fierce-looking horse with a large long tail.
Local Numbers:
AC1146-0000044.tif (AC Scan No.: cover)
Exhibitions Note:
Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
The collection of Kimowan Metchewais [McLain], significant First Nations artist, contains materials related to his artistic practice and his personal life. The materials include not only photographs of his art, completed and in-progress, but also sketchbooks and journal entries that give important context to his major works and artistic practices. The materials range from his early career in the early 1990s as a magazine editor to his solo and group exhibitions to his time as an art professor at various universities and images of his final works in 2011. McLain balanced both Western and Native artistic methods and history in his work, his archive provides valuable insight into the swiftly evolving and often contested world of contemporary Native American art.
Scope and Contents:
The Kimowan Metchewais [McLain] collection spans the majority of
Kimowan's artistic career from 1991 to 2011, beginning with his work as a comic illustrator and ending with one of his final pieces, Raincloud. Series 1: Works contains materials relating to his artistic works, mainly consisting of 4X6 color photographs, slides, and negatives of his completed works. There are also images of the works in progress, sources of inspiration for various pieces, and several items reflecting the various processes he used to create the final work, be it painting, "paper wall," installation, or a mixed media piece. Works of note include: After (1999), Map of Moths (2001), Cold Lake (2004), and Raincloud (2010). Series 2: Polaroids is Kimowan's collection of Polaroid prints. These prints were used as a reference collection by the artist, and reflect all aspects of his life and work: from intimate personal portraits of the artist, friends and family, to color studies, to documentation of nature and everyday items, the series is glimpse into the heart of the collection.
Series 3: Sketchbooks, is an equally revealing look into Kimowan's artistic practice and personal life. Documenting everything from his tobacco research, his thoughts on art history and teaching, designing his website, the creative process of exhibit planning, and numerous sketches in pen, pencil, and charcoal, the sketchbooks are an invaluable resource for understanding both the man and the work he created. Series 4: Personal Materials contains materials related to Kimowan's personal life- his travels around the U.S. and abroad, the works by other artists he felt were important to collect, published material related to his work and also his decisions on where to go to graduate school and where to apply for teaching positions. Series 5: Teaching Materialscontains materials concerning his teaching career- mainly slides of his student's work, and slides he used in his lectures. He taught art classes at both the University of New Mexico and the University of North Carolina at Chapel Hill, on subjects ranging from "Drawing I" to "Native American Art in the 1980s."
The collection contains 4X6 color photographic prints, 35 mm color negatives, 3X5 Polaroid prints, and 35 mm color slides, noted if otherwise. Some titles are bracketed, this reflects a title that has been constructed during processing, titles not bracketed were generally assigned by the creator.
Arrangement:
Collection is arranged by subject. Series 1: Works is arranged chronologically within the subseries, excepting the Works, General subseries. Series 2: Polaroids, retains the original order created by the artist. Images are separated by subject and arranged alphabetically. Series 3: Sketchbooks, is arranged chronologically when date is known. Series 4: Personal Materials, is arranged by subject and occasionally by format. Series 5: Teaching Materials contains slides which are arranged chronologically and by subject.
Biographical / Historical:
Kimowan Metchewais [McLain] was a significant figure in the Native art world. He was born in Oxbow, Saskatchewan, October 2, 1963. He used his step-father Bruce's name- McLain, until later in life when he began to go by his mother Ada's maiden name - Metchewais. He spent his childhood and early adulthood on the Cold Lake First Nations reserve in Alberta. He began his artistic career working as an illustrator and later editor at Windspeaker Native Newspaper from 1983 to 1989. From 1992 to 1996 he attended the University of Alberta in Edmonton, receiving his Bachelors of Fine Arts. It was during this time, in 1993, at age 29, that he was diagnosed with oligodendroglioma, a rare form of brain tumor. The surgery to remove the tumor and following radiation left McLain with a permanent bald spot on the back of his head would feature in his art in later years. He was told that life expectancy for this condition was 11-12 years. Despite his illness, in 1995 Kimowan received the Ellen Battel Stoekel Fellowship to spend the summer at Yale University and in 1996 he received a National Award from the Canadian Native Arts Foundation. He continued on to complete his Master of Fine Arts at the University of New Mexico, Albuquerque, New Mexico, from 1996 to 1999. It was there he met life-long friend Larry McNeil. Kimowan then made the move to Chapel Hill, North Carolina where he began teaching in the Art Department at the University of North Carolina, and continuing to exhibit his own work in both solo exhibitions and group exhibitions.
In Chapel Hill he lived in the neighborhood of Carrboro, a small, relaxed community attached to the larger college town. At this time, Kimowan developed an interest in "hooping" – hula-hooping as a spiritual activity--founding a collective and developing many close friendships through the hobby. He also began making trips home to Cold Lake and documenting the people and places there. In 2005, following symptoms of his tumor returning, McLain underwent a relatively complication-free surgery that allowed him to return directly to work, including participation in the well-received Loom exhibition. In 2007 Kimowan underwent surgery once again but due to complications from the surgery, Kimowan was left partially paralyzed. For a year, Kimowan worked diligently at rehabilitation, even developing his own rehab program he called "Kimochi," and was eventually able to return both to work and hooping. During his time at the hospital he met his eventual fiancée, Antje Thiessen.
Following his return to work, Kimowan continued to evolve his artistic practice – producing what some called his magnum opus - Cold Lake in 2004 and the evocative self-portrait Raincloud in 2010. Both pieces are examples of the space Kimowan gracefully navigated, between Native and Western sensibilities and artistic practices in his work. In 2011 his symptoms returned for a final time and he returned to his mother's home in St. Paul, Alberta, with Thiessen, for palliative care. He passed away on July 29, 2011. A retrospective of his work Horizon: Kimowan Metchewais (McLain) was shown that fall at the John and June Allcott Gallery, University of North Carolina.
Separated Materials:
The National Museum of the American Indian has 185 of Kimowan Metchewais [McLain]'s works in their Modern and Contemporary Arts collection. These pieces have catalog numbers 26/9426 - 26/9610. To view these pieces, an Object Collections Research Request must be made two months in advance, using the form found at http://www.nmai.si.edu/explore/collections/accessing/. Kimowan Metchewais [McLain] also has an artist file held by the Vine Deloria Jr. Library, containing material relevant to this collection. It can be accessed by contacting the library by phone: (301) 238-1376 or email: AskALibrarian@si.edu.
Provenance:
Bequest of Kimowan Metchewais [McLain] in 2015.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Thursday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Identification of specific item; Date (if known); Kimowan Metchewais [McLain] Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Postcard with reproductions of color portraits. "Our Sixth Annual Queer People of Color Dance."
Local Numbers:
AC1146-0000069.tif (AC Scan No.)
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Illustrations of three figures in female Indian costume. Printed in red. Advertises benefit at 416 W. 14th St., New York City.
Local Numbers:
AC1146-0000070.tif (AC Scan No.)
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Periodical has cover picture of a sweaty basketball player, from a photograph.
Local Numbers:
AC1146-0000009 (AC Scan No.: front cover)
Exhibitions Note:
Shown in "Stonewall" display, Archives Center display case, June-July 2000.
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 2000-2010 -- Color -- Reproductions
Magazines (periodicals) -- 21st century
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Bil Browning and his husband, Jerame Davis were activists for LGBT issues, locally in Indiana as well as nationally in Washington, D.C.
Scope and Contents:
The Bil Browning and Jerame Davis Papers consist of approximately 3.15 cubic feet documenting their activism on behalf of LGBT rights in Indiana, and includes correspondence, photographs, school papers, a scrapbook from Browning's youth, posters, petitions, handouts, bumper stickers, periodicals, conference and event programs, ID cards, VHS recordings, and printed materials. There are extensive notes from an oral history interview with Browning and Davis conducted by Archives Center intern, Sara Dorfman, in Series 1.
Series 1, Personal Papers, 1972-2015, undated, consists of correspondence between Browning and his friends and family, school-related materials such as yearbooks and report cards, an oral history interview, and a scrapbook from Browning's youth. The scrapbook contains materials pertaining to Browning's work with ACT-UP, along with letters and other personal materials.
Series 2, Activism Records, 1992-2012, undated, contains papers from the Fast Max Sunoco employment discrimination case, papers from the Indiana Stonewall Democrats, conference and event programs, papers from Indiana Equality, papers from the Human Rights Campaign, papers from Pride at Work, a presentation on LGBT youth homelessness from the LGBT Editor/Blogger Convening, an invitation to the inauguration of President Obama, an invitation to LGBT Pride Month from the White House, and papers from the Bilerico LGBT Media Foundation.
Series 3, Legal Records, 1991-2011, undated, contains financial records as well as papers from the Indiana Department of Workforce Development and documents regarding termination of child support paid by Browning's father.
Series 4, Publications, 1981-2014, undated, includes newspaper clippings relating to Browning's youth, LGBT events, and ACT-UP. It also contains pamphlets, hand-outs from conferences, and multiple LGBT periodicals from around the United States, such as the Washington Blade, that claims to be the oldest LGBT newspaper in the country.
Series 5, Photographs, 1972-2006, undated, contains photos from Browning's youth, friends and family of Browning and Davis, Browning's significant others, protests, and drag shows.
Series 6, Audiovisual, 1992-2008, undated, covers Browning's involvement with the organization ACT-UP, interviews with Browning, an open forum led by Jerame Davis in response to a protest against Cummins, a rally staged by the Indiana Action Network, and various clips from news programs covering some of these events.
Arrangement:
This collection is arranged into six series.
Series 1: Personal Papers, 1972-2015, undated
Series 2: Activism Records, 1992-2012, undated
Series 3: Legal Records, 1991-2011, undated
Series 4: Publications, 1981-2014, undated
Series 5: Photographs, 1972-2006, undated
Series 6: Audiovisual, 1992-2008, undated
Biographical / Historical:
Bil Browning (William Dale Browning) was born in Zanesville, Ohio in 1972. Jerame Davis (Jerame Joe Davis) was born in Columbus, Indiana in 1975. After coming out as gay in high school, Browning joined the Clinton presidential election campaign and the organization ACT UP (AIDS Coalition to Unleash Power) in 1992. Davis worked for multiple LGBT organizations, including Indiana Equality, Indiana Fairness Network, Columbus Gay/Straight Alliance, Indiana Stonewall Democrats, and Pride at Work.
In the late 1990s, Browning and Davis were involved in an employment discrimination case against Fast Max Sunoco in Indiana. This case served as a catalyst for them to continue championing LGBT rights. The same case resulted in their organizing the internet's first gay rights grassroots online action against the local company that had fired them. Since then, Browning has won multiple awards for his work as an activist. He is also a board member of the National Lesbian and Gay Journalists Association, and an advisory board member of the Woodhull Sexual Freedom Alliance. Davis has served as the executive director of the National Stonewall Democrats.
Together, Browning and Davis were the co-owners of the Bilerico Project, a group blog that chronicled Indiana politics and LGBT issues for nearly 11 years. On June 30th, 2015, Browning made his last post on the blog, saying that he was taking time off to work on his book. Browning and Davis separated in 2023.
Provenance:
The papers were donated by Bil Browning and Jerame Davis, in 2015.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
