Education and Public Programs, Department of (NMAH, SI) Search this
National Museum of American History (U.S.) Search this
Extent:
18 Cubic feet (54 boxes)
Type:
Collection descriptions
Archival materials
Questionnaires
Date:
2002-09-08-2006-01-01, undated
Summary:
Visitors' comments collected on pre-printed cards documenting memories of the events of September 11, 2001, and their opinions on how their lives may have changed as a result of those events. Cards collected at each venue during the touring exhibit, "September 11: Bearing Witness to History".
Scope and Contents:
This collection contains comment cards from the exhibit, "September 11: Bearing Witness to History" that originated at the National Museum of American History (NMAH) Smithsonian Institution in Washington, D.C., and traveled to seven additional locations across the United States. The cards asked visitors of the exhibit one of two possible questions:
How did you witness history on September 11, 2001?
How has your life changed because of September 11, 2001?
The collection is divided into six series by location of exhibition and one additional series of additional information. Some of the comment cards were digitized previously and are available at 911digitialarchive.org.
Arrangement:
The collection is divided into six series by location of exhibition and one series of additional materials.
Series 1, National Museum of American History (Washington DC) 2002-2003
Series 2, Fort Worth Museum of Science and History (Fort Worth, Texas) 2003-2004
Series 3, East Tennessee Historical Society (Knoxville, Tennessee) 2004
Series 4, Japanese American National Museum (Los Angeles, California) 2004 July 7-2004 August 15
Series 5, Union Station (Kansas City, Missouri) undated
Series 6, National Heritage Museum (Lexington, Massachusetts) undated
Series 7, Additional Materials, undated
Biographical / Historical:
In the early spring of 2002, the National Museum of American History began production of an exhibition, "September 11: Bearing Witness to History", commemorating the one-year anniversary of the September 11 terrorist attacks. The exhibit was co-curated by curator emeritus David Allison and archivist Susan Strange. Due to the sensitive nature of the topic, delaying the exhibit's production in 2001, museum staff and partners had a 6 to 7-month period to plan and produce the exhibit. The process included not only design and research, but also reaching out to survivors and victim's families to collect personal effects and testimonies. While it proved to be a tremendous and emotionally difficult undertaking, the exhibit was ultimately completed on time.
"September 11: Bearing Witness to History" attracted over a million visitors during its ten-month run at the National Museum of American History on the Mall in Washington, DC, closing on July 6, 2003. With a goal of serving as a space of personal reflection, the exhibition included personal stories, photographs, and artifacts from the World Trade Center towers, the Pentagon, and the Flight 93 crash site in Somerset County, Pennsylvania. The exhibition also had a companion exhibit online (now defunct).
Each of the six exhibit sections were designed to have a somber impact on visitors: a narrow entrance portal featuring reactions to the attacks, a photo gallery featuring professional and amateur photography of the events, the object gallery from the three sites, a video produced by ABC News for the museum, interactive stations where guests listened to individual witness stories, and a visitor ledger where guests could reflect on the exhibit.
After its closing in Washington D.C., the exhibition was hosted at seven locations nationwide, including the Fort Worth Museum of Science and History (Fort Worth, Texas) from September 11, 2003, to January 4, 2004; the East Tennessee Historical Society (Knoxville, Tennessee) from January 30 to May 23, 2004; the Japanese American National Museum (Los Angeles, California) from July 1 to August 15, 2004; the Historical Society of Western Pennsylvania (Pittsburgh, Pennsylvania) from September 11, 2004 to January 2, 2005; the Washington State Historical Society (Tacoma, Washington) from January 30 to April 24, 2005; Union Station, Kansas City (Kansas City, Missouri) from May to August 2005; and the National Heritage Museum (Lexington, Massachusetts) from September 11, 2005 to January 1, 2006.
The exhibition featured the distribution of 5 ½ x 9 ½" comment cards where visitors could write or draw their personal experiences of the September 11 attacks. Only demographic information (age, location, gender) was also collected on these cards, and visitors had the choice of allowing their stories to be presented publicly. Two versions of the cards were used with slight differences in presented information, one that was distributed from the National Museum of American History, and the second being distributed from the host museums. Both versions informed participants that their responses would be part of the Behring Center's permanent archive responsible for preserving September 11th stories.
The comment cards were made available in the exhibition hall in every venue for visitors to record their comments. Some cards were sent back to the museum via mail from abroad or other states. Other submitted cards indicated forethought on part of their creator, with attached memorabilia such as photographs, drawings, flyers, poems, medals and pins, and patches.
Although the exhibition was featured at a total of eight locations, only cards from six of the locations are represented in this collection. The two locations that are not featured are the Historical Society of Western Pennsylvania and the Washington State Historical Society. It is not known if these locations participated in the comment card project.
Numbering perhaps in the tens of thousands, the comment cards capture a vivid, collective memory across all demographics and will serve as an important historic primary source reservoir of early attitudes from the American and global consciousness in the aftermath of the attacks.
Provenance:
Immediate source of acquisition unknown.
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.
Topic:
Exhibitions -- (creator) -- Washington (D.C.) Search this
An interview of Edgar and Joyce Anderson conducted 2002 September 17-19, by Donna Gold, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Morristown, New Jersey.
The interview begins in the home of their frequent patrons, Sandra and Lou Grotta, in Harding Township, New Jersey. The Grottas are not present. They discuss several of their pieces in situ, including tables, beds, a piano bench, the grandfather clock (carved in the shape of Edgar's arm wearing a wristwatch), and the Knight table. Many of these pieces are discussed in detail in terms of their design and construction. They also allude briefly to other pieces in the Grotta's collection by Toshiko Takaezu, Hans Wegner, Bill Wyman, Sam Maloof, and Bob Stocksdale. The Grotta's house, designed by architect Richard Meier, is also discussed. Edgar recalls that Meier designed the house to accommodate the collection. They also talk about the Grotta's participation in the American Craft Council, and the relationship among collectors. The interview continues at the artists' home Harding Township, New Jersey. They discuss several projects for other clients, and they reflect on the relationships that developed. These include: a gaming table for Doug Dayton of Monteath Lumber Company, a jewelry chest for Thelma Newman, collaboration with Newman on a book for Chilton Publishing Company (not published), and a figural chest for Mako Stewart, which is still in the artists' private collection. They reflect on their private and professional partnership and the balance of skills they shared. They recall that their early success was bolstered by a New York Times article by Betty Pepis. This publicity led to new clients, such as Reverend John Mason of the Episcopal Chapel at the University of Maine, who is discussed in detail along with his wife Elizabeth Mason. They explain their expertise in humidity and wood shrinkage, including their work as consultants for the Museum of Contemporary Crafts, before it became the American Craft Museum. There is lengthy discussion of the Andersons' own house, which they designed and built themselves over a period of years. Frank Lloyd Wright was an influence. They discuss other church commissions in general, speaking of the influence of their spirituality. St. Luke's Episcopal Church, Haworth, New Jersey, is discussed in some detail. Edgar briefly talks about a local World Trade Center memorial which he has been working on. They recall the importance of the support of the American Craft Museum, Aileen Osborne (Vanderbilt) Webb, and David Campbell. They discuss in depth their time in Honduras, under the sponsorship of the USAID program, teaching craft techniques to local inhabitants. Joyce describes this as a Kennedy era demonstration program. Other participants in the Honduras program included Dave Chapman, Roy Ginstrom, Bill Wyman, and Emil Milan. They also recall participating in a similar program in Antigua. They also recall Herb and Marje Noyes, Ruth Martin, Patricia Malarcher, John Geraci, Mike Langan, Bob and Rowena MacPhail, Sterling North, Zelda Strecker, Paul Smith, Tom Tibbs, Walker Weed, Lois Moran, Toshiko Takaezu, Tapio Wirkkala, Jack Lenor Larsen, Edward Cooke, Michael Stone, John McPhee, and Dot Blanchard.
Biographical / Historical:
Edgar Anderson (1922- ) and Joyce Anderson (1923- ) are woodworkers from Morristown, New Jersey.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 34 digital wav files. Duration is 5 hr., 56 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Woodworkers -- New Jersey -- Interviews. Search this
An interview with Mindy Weisel conducted 2001 September 21-November 1, by Anne Louise Bayly, for the Archives of American Art, in Washington, D.C.
Weisel speaks of her parents and their surviving the Holocaust; her mother showing her beauty as a child; being the daughter of survivors; wanting to draw as a child; studying art in college; her marriage and motherhood; balancing the role of wife, mother and artist; September 11th; her Ella Fitzgerald series; her time at the Virginia Center for the Creative Arts; process of working; creating Lily Let's Dance and It's Ok Kid; writing her books "Daughters of Absence", "Touching Quiet", "The Rainbow Diet"; art and survival.
Biographical / Historical:
Mindy Weisel (1947- ) is a painter from Washington, D.C.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr.; 28 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New York (State) -- New City Search this
An interview of Edgar Anderson conducted 2002 September 17-19, by Donna Gold, in Morristown, New Jersey, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Anderson describes his philosophy of nature, and the genetic affinities between trees and humans. He discusses childhood in Jersey City, New Jersey; his parents; his grandfather, who was a bookbinder and leather craftsman; and other influences from his childhood, including his uncles and the Stickley family's Craftsman Farms. He recalls that his mother was an accomplished painter and amateur architect; his father was responsible for constructing the foundations for the Chrysler Building. He describes his early admiration for Frank Lloyd Wright, and a meeting with Wright to inquire about the Taliesin Fellowship. Anderson did not join the Fellowship. He briefly discusses Ayn Rand and The Fountainhead. He recalls his architectural studies at Pratt Institute, including a structural investigation of Wright's Fallingwater house, and studying architectural rendering with Caleb Hornbostel. He describes his service during World War II, serving in Italy as a platoon commander for the Army Engineers. He talks about meeting his wife, Joyce, and the genesis of their working partnership. After the war, he and Joyce studied at Pratt under Philip Johnson; he recalls his student projects and the continuing influence of Frank Lloyd Wright. He also studied at Chicago Technical College. He recalls his apprenticeship building boats with his uncle. He describes, in technical detail, the early years of the practice, including a discussion of his wood supplier, the Monteath Company. He comments at length on his personal creative process, which includes elliptical references to a wide variety of sources, including Umberto Eco and the film 2001. He describes several projects for Lou and Sandy Grotta, including an anthropomorphic grandfather clock in the shape of a hand and wristwatch, an illusionary headboard, and the Knight table. He also comments on the Grotta house, designed by Richard Meier. He briefly mentions the editorial strategy of American Craft, and later Craft Horizon, and his relationships with editors such as John Kelsey, Paul Roman, and Rose Slivka. He mentions having taught at Philadelphia College of Art. He recalls racing in a demolition derby. He discusses his attitude towards criticism, mentioning Paul Smith, the director of the Museum of Contemporary Crafts, at length. He briefly describes his design for a 9/11 memorial at Liberty State Park and the political character of his work. He also reflects on his work relative to the culture at large. He talks about new technologies and new tools, and the evolution of the partnership. He describes his involvement in the craft community at Peters Valley, New Jersey. He comments at length on his apprentice Rob Sperber, and their development of the chainsaw mill.
Biographical / Historical:
Edgar Anderson (1922- ) is a woodworker from Morristown, New Jersey. Donna Gold (1953- ) is an art writer from Stockton Springs, Maine.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 24 digital wav files. Duration is 5 hr., 52 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Quotes and excerpts must be cited as follows: Oral history interview with Edgar Anderson, 2002 September 17-19. Archives of American Art, Smithsonian Institution.
Topic:
2001, a space odyssey (Motion picture) Search this
Chilton Professional Automotive (Firm) Search this
American Crafts Council. Museum of Contemporary Crafts Search this
United States. Agency for International Development Search this
Type:
Sound recordings
Interviews
Place:
World Trade Center Site (New York, N.Y.)
Honduras -- description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edgar and Joyce Anderson, 2002 September 17-19. Archives of American Art, Smithsonian Institution.
Topic:
Woodworkers -- New Jersey -- Interviews. Search this
Quotes and excerpts must be cited as follows: Oral history interview with Mindy Weisel, 2001 September 2-November 1. Archives of American Art, Smithsonian Institution.
