View allAll Photos Tagged Segregation
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www.youtube.com/channel/UC8JtcV_EejccsUNXSK_ejcw Springs of Eden
An African American student stands in a classroom at St. Dominics High School May 18, 1954 in Washington, D.C.
The parochial school system in the city was integrated long before the public schools. The photo was taken in the wake of the Bolling v. Sharpe decision that outlawed segregation in the District’s public schools.
For more information and related images, see www.flickr.com/gp/washington_area_spark/564wW3
Read the story of of DC desegregation from the pickets to the courts: washingtonspark.wordpress.com/2015/08/20/dcs-fighting-bar...
The photographer is unknown. The image is an auction find.
Street scene in "The Bottoms" just north of downtown Shreveport. Love's Cafe and rental housing. 29 July 1957. Coll. 393, Jacket 17767.
Title: Members of the ILGWU Local 105 picket against Woolworth's segregation and discrimination policies, 1963. In sunglasses is Eddy Walinus, and on his left, Morris Bagno
Date: 1963
Photographer: Unknown
Photo ID: 5780PB37F15A
Collection: International Ladies Garment Workers Union Photographs (1885-1985)
Repository: The Kheel Center for Labor-Management Documentation and Archives in the ILR School at Cornell University is the Catherwood Library unit that collects, preserves, and makes accessible special collections documenting the history of the workplace and labor relations. www.ilr.cornell.edu/library/kheel
Notes: No additional information available.
Copyright: The copyright status of this image is unknown. It may also be subject to third party rights of privacy or publicity. Images are being made available for purposes of private study, scholarship, and research. The Kheel Center would like to learn more about this image and hear from any copyright owners who are not properly identified so that we may make the necessary corrections.
Tags: Kheel Center for Labor-Management Documentation and Archives,Cornell University Library,Local, Picketing, Placards, Strikes
Color-coding systems are often used to ensure immediate identification of the hazards associated with various types of health care waste that is handled or treated in facilities. Color-coding systems should remain simple and should be applied consistently throughout a country.
There is a TV drama forthcoming on WowWow TV on racial discrimination, segregation versus integration issues. Here is a collection of cast members taken in between production shooting. It was perfect weather as well being an unusually warm day (19ºC) for early February. Every one seemed to enjoy themselves, except there was a lot of excess standing, so our legs became quite tired and sore.
Shoot location was Showa Memorial Park near Nishi Tachikawa Station, Tokyo, Japan. Anyone who is a subscriber to Wow Wow and is interested in viewing the movie, please send me a personal message. Cheers…..
本日のプロダクションは人種差別の主テーマとしてWowWowテレビで近い将来に放映する予定です。この写真集は撮影ロケでその番組のキャストメンバーです。天気も最適で最高でした。19ºCは２月の昇順ごろとしてとても例外的です。皆さんは楽しんでいましたが立つことはかなりありましてメンバーの一部の足み疲れてきて痛くなりました。
撮影ロケは西立川の昭和記念公園です。その番組予定の詳細を知りたい場合はメッセージを送って下さい。
Spottwood Bolling, the lead plaintiff in the Supreme Court case that outlawed segregation in District of Columbia public schools, is shown after the Court decision May 18, 1954.
Bolling was a 15-year-old sophomore at the time of the decision.
For more information and related images, see www.flickr.com/gp/washington_area_spark/564wW3
Read the story of of DC desegregation from the pickets to the courts: washingtonspark.wordpress.com/2015/08/20/dcs-fighting-bar...
The photographer is unknown. The image is courtesy of Bettman/Corbis - © Bettmann/CORBIS.
A stunning memorial to the 9th and 10th Buffalo Soldier Regiments, which served at Fort Riley, KS.
Many informational plaques. Located next to apartments which were orginally built as segregated quarters for African-American soldiers.
There is a TV drama forthcoming on WowWow TV on racial discrimination, segregation versus integration issues. Here is a collection of cast members taken in between production shooting. It was perfect weather as well being an unusually warm day (19ºC) for early February. Every one seemed to enjoy themselves, except there was a lot of excess standing, so our legs became quite tired and sore.
Shoot location was Showa Memorial Park near Nishi Tachikawa Station, Tokyo, Japan. Anyone who is a subscriber to Wow Wow and is interested in viewing the movie, please send me a personal message. Cheers…..
本日のプロダクションは人種差別の主テーマとしてWowWowテレビで近い将来に放映する予定です。この写真集は撮影ロケでその番組のキャストメンバーです。天気も最適で最高でした。19ºCは２月の昇順ごろとしてとても例外的です。皆さんは楽しんでいましたが立つことはかなりありましてメンバーの一部の足み疲れてきて痛くなりました。
撮影ロケは西立川の昭和記念公園です。その番組予定の詳細を知りたい場合はメッセージを送って下さい。
Click the "All Sizes" button above to read an article or to see the image clearly.
These scans come from my rather large magazine collection. Instead of filling my house with old moldy magazines, I scanned them (in most cases, photographed them) and filled a storage area with moldy magazines. Now they reside on an external harddrive. I thought others might appreciate these tidbits of forgotten history.
Please feel free to leave any comments or thoughts or impressions... Thanks in advance!
This man, an Egged employee, was in charge of making sure that men boarded from the front and women from the rear. When I asked him whose rules these were, he said, "The Modesty Patrol." When I asked him how long the Egged company has been subordinate to this modesty patrol, he said, "Always." (Not true. I have lived here for seventeen years. It was not always this way.)
L&C unveiled and dedicated a historical marker honoring education champion Scott Bibb, who fought against segregated schools in Alton from 1897-1908, on June 19, 2017 in front of the Scott Bibb Center in Alton. Photo by Louise Jett, L&C Media Specialist
L&C unveiled and dedicated a historical marker honoring education champion Scott Bibb, who fought against segregated schools in Alton from 1897-1908, on June 19, 2017 in front of the Scott Bibb Center in Alton. Photo by Jessie Regot, L&C Media Services Intern
June 1, 1951
Photo shoot of the segregated all African-American truck company with their new apparatus.
Leading plaintiffs in the 1954 Supreme Court decisions outlawing school segregation are shown during a press conference at the Hotel Americana in Arlington, Virginia in June 1964.
From left to right, first row: Linda Brown Smith (Topeka, Kansas); Ethel Louise Belton Brown (Claymont, Delaware), Second row: Harry Briggs, Jr. (Summerton, S.C.), and Spottswood Bolling, Jr. (Washington, D.C.) during press conference at Hotel Americana. Missing is Dorothy Davis of Prince Edward County, Virginia.
The Bolling suit ending segregation in the District of Columbia was brought by the Consolidated Parents Group, composed of working class African Americans living east of the Anacostia River.
The Group waged a seven-year fight beginning in 1947 to improve conditions for African Americans that began with a boycott of deplorable conditions at the all black Browne Junior High on Benning Road and ended with the Court’s school desegregation order.
For more information and related images, see www.flickr.com/gp/washington_area_spark/564wW3
Read the story of of DC desegregation from the pickets to the courts: washingtonspark.wordpress.com/2015/08/20/dcs-fighting-bar...
Photo by Al Ravenna. Courtesy of the Library of Congress, Reproduction Number: LC-USZ62-112705 (b&w film copy neg.)
Located in Hsinchuang City, west of Taipei, Losheng Sanatorium was built by the Japanese colonial administration in 1930 to quarantine leprosy sufferers on the island. After 1945, the segregation policy was continued by the Kuomintang administration when it was the only public leprosarium on the island. In 1962, segregation was abandoned but due to ignorance about the disease, discrimination against its sufferers persisted into the new millennium. By the time, Losheng had developed into a self-sufficient community with residents who had been living there since their youth. In 1995, the government sold the 17-hectare leprosarium to the Taipei Rapid Transit Corporation who made plans for the total demolition of it. These decisions were not revealed to the patients at the sanatorium. In fact, they were oblivious to the fate of their lifelong home until one day in 2002 when bulldozers arrived and began tearing into the grounds. After years of media campaigns, legal battles, active mobilization, demonstration and clashes with police for Losheng, the government finally came up with a compromise plan in 2007 that would preserve part of the site. Among the 49 buildings planned to be preserved, nine were to be rebuilt elsewhere, while 40 would be maintained. However, of these 40 buildings, 22 were declared "unfit for habitation." Today, Losheng Sanatorium is surrounded by building grounds. While most of them have been relocated, 45 of 200 last residents still refuse to leave. In 2009, Icomos, a consultative body that participates in evaluation of UNESCO’s World Cultural Heritage nominations considered that Losheng meets the ‘associative value’ criterion of UNESCO’s six criteria for World Heritage sites for its connection to the human rights movement.” Losheng means Happy Life in mandarin.
There is so much groping on the trains that the women need to be separated from the men during the work commute, otherwise they're free game and are no longer under the protection of these floor mats
Couple days ago I read an article that says the class segregation is still alive and well in New York City. In comments someone talked about quality of #Life and that it's wrong to demand that people who make more #money are not allowed to enjoy using it the way they want. I agree, but the culture in my homeland says you as a human can't fall asleep enjoyably, when you're aware that your neighbor is hungry.
. #Ferrari #pirelli #shell #Houston #Houstongram #instagramhtx #ThisIsHoustn #ighouston #lifeinhtx #PhotoOftheDay #Picoftheday #the #shotoniphone #iphoneonly #vsco #My #Life #Stranger #City #America #look #instadaily #instagood #igers #instago #Travel #supercars #luxury
June 1, 1951
Photo shoot of the segregated all African-American truck company with their new apparatus.
Reflections in Black and White exhibit - Cape Fear Museum - January 30, 2017 - New Hanover County, NC
Reflections in Black and White, features a selection of informal black and white photographs taken by black and white Wilmingtonians after World War II before the Civil Rights movement helped end legalized segregation. Visitors will have a chance to compare black and white experiences and reflect on what people’s lives were like in the region during the latter part of the Jim Crow era.
Examine mid-century cameras and photographic equipment and experience the “thrill” of opening a replica camera store photo envelope, a rare experience in today’s digital world. Flip through some recreated pages from Claude Howell’s scrapbooks, and take your own photograph in a 1950s setting.
Reflections in Black and White features selections from four large photographic collections:
•African American photographer Herbert Howard was a postal worker, a member of the NAACP, and a semi-professional photographer. Cape Fear Museum has a collection of more than 1,000 images he took documenting Wilmington’s black community.
•Artist Claude Howell left an extensive collection of scrapbooks to the Museum. The albums include hundreds of pages with photographs of Howell’s friends, local scenery, and people.
•Student nurse Elizabeth Ashworth attended the James Walker Memorial Hospital School of Nursing right after World War II. Her photographs provide a glimpse of a group of young white women’s lives in the late 1940s.
•In 2012, the Museum acquired a collection of photos that were taken in the late 1950s and early 1960s, and left at the Camera Shop, a downtown business that was a fixture from the late 1910s through the early 1980s.
Historian Jan Davidson explained why the concept behind the exhibit: “The different historical images speak to each other in some fascinating ways. Most of us can see our own lives reflected in the images, We all eat, hang out with friends, and many of us have taken silly pictures of ourselves or our loved ones. These images show our common humanity, and allow us to relate to people in the past as we might relate to a friend.”
Cape Fear Museum hopes the exhibit will spark reflection and conversation about the history of race relations. Davidson states, “When you look at these images as a group, they give us a chance to reflect on how legally-sanctioned racial segregation helped shape people’s daily lives. We want today’s visitors to have a chance to imagine what it felt like to live in a world where Jim Crow laws and attitudes deeply affected the textures of daily life.”
See more at: www.capefearmuseum.com/
Photo by Brett Cottrell, New Hanover County
2011 Hong Kong 1st July demonstration
Location, Yee Wo Street, Causeway Bayi, Hong Kong
Rollei 35RF
Leitz Wetzlar Summaron M 35mm f/2.8
Leitz Light Yellow Filter
Rollei Retro 100
Maybe you have to be from San Francisco to really appreciate this sign.
Speed Queens should *definitely* be given all the space they need to do their laundry.
Exposition : The color line
Du mardi 04 octobre 2016 au dimanche 15 janvier 2017
Quel rôle a joué l’art dans la quête d’égalité et d’affirmation de l’identité noire dans l’Amérique de la Ségrégation ? L'exposition rend hommage aux artistes et penseurs africains-américains qui ont contribué, durant près d’un siècle et demi de luttes, à estomper cette "ligne de couleur" discriminatoire.
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« Le problème du 20e siècle est le problème de la ligne de partage des couleurs ».
Si la fin de la Guerre de Sécession en 1865 a bien sonné l’abolition de l'esclavage, la ligne de démarcation raciale va encore marquer durablement la société américaine, comme le pressent le militant W.E.B. Du Bois en 1903 dans The Soul of Black Folks. L’exposition The Color Line revient sur cette période sombre des États-Unis à travers l’histoire culturelle de ses artistes noirs, premières cibles de ces discriminations.
Des thématiques racistes du vaudeville américain et des spectacles de Minstrels du 19e siècle à l’effervescence culturelle et littéraire de la Harlem Renaissance du début du 20e siècle, des pionniers de l’activisme noir (Frederick Douglass, Booker T. Washington) au réquisitoire de la chanteuse Billie Holiday (Strange Fruit), ce sont près de 150 ans de production artistique – peinture, sculpture, photographie, cinéma, musique, littérature… – qui témoignent de la richesse créative de la contestation noire.
This bus ticket was created specifically for the demonstration against segregated bus lines in Jerusalem. The top line, which is not actually part of the ticket, reads "Bus ticket for women. Seating in the rear portion only."
James Nabritt Jr., the attorney for the Consolidated Parents Group that filed the Bolling v. Sharpe case that resulted in desegregation of DC public schools, is shown in a photograph circa 1950.
He was a protégé of Thurgood Marshall and a student of Charles Hamilton Houston who later served as president of Howard University.
For more information and related images, see www.flickr.com/gp/washington_area_spark/564wW3
Read the story of of DC desegregation from the pickets to the courts: washingtonspark.wordpress.com/2015/08/20/dcs-fighting-bar...
Photo by Addison N. Scurlock. Courtesy of the Smithsonian Institution, National Museum of American History: Archives Center.
Bevelry Tatum and Bill Kurtz shared their perspectives in the panel on Segregation in American Schools and Its Impact on the Achievement Gap.
Street scene in "The Bottoms" just north of downtown Shreveport. The Del Rio Bar and 13 Spot are surrounded by residences. 29 July 1957. Coll. 393, Jacket 17767.
Panel 5 turns to the problem of racial segregation in Nashville. Featured portraits are of three leaders of the Civil Rights movement (Attorney and State Senator Avon Williams, the Reverend Kelly Miller Smith, and Attorney and City Councilman Z. Alexander Looby) above a vignette of the lunch counter sit-ins led by one-time Vanderbilt Divinity student, the Reverend James Lawson, and others. Shown here are Matthew Walker, Peggy Alexander, Diane Nash and Stanley Hemphill. The results of their courageous efforts made Nashville the first major city in the South to begin desegregation.
Hitler was reported to admire Dixie's dictates for enforcing day-to-day white supremacy. Hitler believed that the Bill of Rights was irrelevant to American life and that the United States owed its secret strength to state laws that legally institutionalized segregation and oppression.
In 1940 he studied the Nazi Heinz Kloss’s survey of racial laws in the United States, Das Volksgruppenrecht in den Vereinigten Staates von Amerika. According to Kloss, “a unified national America was an illusion”; state legislation had worked to keep races separate and minority groups pure.
Others quoted Hitler as believing that America’s national promise had died when the Confederacy lost the Civil War. According to an ex-Nazi’s memoir, Hitler thought that “historical logical and sound sense” dictated that the Confederacy emerge victorious. The Union victory was a perversion of history that left the United States structurally damaged.
With Das Volksgruppenrecht, Jewish and African American comparisons came full circle: Nazi Germany held up the U.S. South as a model for its racial persecution.
The comparison that many U.S. whites were unwilling to draw, the Nazis drew for them.
~ from Defying Dixie: The Radical Roots of Civil Rights, by Glenda Elizabeth Gilmore
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"Our new government is founded upon exactly the opposite idea; its foundations are laid, its corner-stone rests, upon the great truth that the negro is not equal to the white man; that slavery subordination to the superior race is his natural and normal condition. This, our new government, is the first, in the history of the world, based upon this great physical, philosophical, and moral truth."
~ Alexander Stephens, Cornerstone speech, March 21, 1861
If there had not been the desire to maintain slavery, there would have been no Confederacy and no Confederate flag at all. The Confederacy arose from something completely hideous: the feeling in persons that other human beings should be their property .... The reason the Southern states seceded from the Union in 1861 was to be able to preserve slavery .... South Carolina might just as well display a bullwhip and auction block at its statehouse, because these and the Confederate flag stand for the same thing.
. . . You cannot fight 'honorably' in behalf of something that is entirely dishonorable. To say one can is like saying Germans fought honorably in the cause of Hitler. And some German soldiers likely 'fought bravely' — but the bravery was in behalf of subjugating and annihilating human beings; it was bravery in behalf of gas chambers. And the bravery of the Confederate soldier was bravery in behalf of a Black child's being torn from her mother and sold."
~ Ellen Reiss
The series Plucked is an investigation into the duality of the home, urban alienation, social segregation and human relationships. This duality of the home extends further, adding layers to the series, incorporating the ethics of both social documentary and staged photography, as well as the possible cognitive dissonant experience of the viewer. This dissonance was built around notions of ambiguity and the uncanny.
The home is often known to be a safe space where one can be private and intimate. The home has a sentiment of security that is built around the fact that we can seclude ourselves, distancing oneself from the interference and surveillance of others. It is with this point that its most problematic duality is made evident. The home is a harbourer of some of humanities gravest crimes. These crimes occur behind closed doors, including physical, sexual and psychological abuse.
The element of time and death is also present in the repetition of flowers throughout the series. Here flowers act as a subtle metaphor concerning the duality of life and death, of which are inseparable through time, not unlike photography itself. The act of plucking/picking flowers is death and once the plucked flower is severed from its life force, it is subject to a slow, often beautiful, process of dying. This dialogue with death has the ability to create notions of the uncanny. By depicting something that is familiar, yet strange, or appealing and repulsive at the same time is often regarded as a signifier of the depiction of the uncanny and raises contradictory beliefs (cognitions) for the viewer, encouraging the viewer to create his/her own opinion, which is hopefully based on the emotion that the photograph offers the viewer.
The images are talking about the everyday with a calm and beautiful surface, but that, on closer inspection, raises question about the apparent peaceful depiction, juxtaposing the viewer's emotional response to the photographs with a subtler sinister undercurrent. When this emotion is strong enough to allow the viewer to travel back through their personal history, to where a similar emotion was encountered, the viewer is removed from the physical object, that is the photograph, and the situation it is depicting. This journey is a personal reflection that considers social truth. This is emphasised by the deliberate open-ended narratives and cognitive duality of the series, encouraging a subjective journey through the work rather than a dictated reading. The subjectivity is also important in recognising scenarios through the viewer's experience of the everyday. This is also in dialogue with the viewer's memory vault of images derived from painting, cinema and TV and helps the viewer in understanding a visual, gestural language. It is related to a subliminal aesthetic pleasure that is not, as I understand it, dependent on authenticity, hence verifying the staged documentary photograph as a relevant approach concerning social understanding and investigation. By plucking specific moments of everyday narrative my work is confronting the way in which social truth should be depicted.
All images © Geir Moseid
Shenandoah's 1934 master plan for development called for separate facilities for black visitors. However, at the opening of the 1937 season African American visitors were still dining in the staff areas of the "for whites only" facilities and there were no overnight accommodations. Harold Ickes, Secretary of the Interior, prodded park management and the concessioner, Virginia Skyline Company, to "get started." Finally in 1939, the Lewis Mountain area opened for the "exclusive use of the Negroes."
However, the Department of the Interior's solicitor pointed out that segregation in Shenandoah was unconstitutional. Supporting this view, Ickes insisted that integration efforts begin. So, in the same year that Shenandoah opened its separate facility, Pinnacles Picnic Grounds opened to all races.
An exhibit at the Harry F. Byrd Sr. Visitor Center at Big Meadows on Mile 51 of Skyline Drive tells the stories of Shenandoah's establishment and development. Shenandoah National Park, traversing the Blue Ridge Mountains in north-central Virginia, was established as a National Park on December 256, 1935. The park stretches for 105 miles along Skyline Drive, with the Shenandoah River and its broad valley to the west and the rolling hills of the Virginia Piedmont to the east. Mostly forested, the park features 200,000 acres of wetlands, waterfalls and rocky peaks.
Charles B. Aycock, North Carolina governor 1900-1904.
Gov. Charles Brantley Aycock (1859-1912) was active in the Democratic party in North Carolina during the Fusion era (1895-1900). He vigorously promoted white supremacy and segregation of the races, and supported an amendment to the state constitution which essentially would disenfranchise the black electorate by means of a grandfathered literacy test and poll tax. In the elections of 1898 Democrats regained control of both houses of the General Assembly, diminishing the power and influence of the Fusionists in the political arena. As a result, in the 1900 gubernatorial election Democrats elected Aycock, who had run unopposed.
digital.ncdcr.gov/cdm/compoundobject/collection/p249901co...
(pp.175, 180)
From the General Negatives, State Archives of North Carolina.
1.The theme for this poster is segregate. The cast shadow represents the separation of segregation, and the upwards direction of the text represents that Skip saw past the skin color.
2.The theme on this poster is colorblind. I know colorblind implies no color at all, but by putting al the text in tints and tones of yellow this represents colorblind. The repetition of smarter emphasizes Skip’s ability to see past segregation.
3.This was originally one of my favorites but I think the soft purple/blue killed it. I think I need to change it back to red text. This poster’s theme is unity. The headline texts interlacing with the body text represents the unity.
4.This poster’s theme is also unity. The pink of course is not the best choice, but I wanted to see what it would look like with color. The large O’s and their repetition represent unity.
5.This poster is colorblind and somewhat segregation. The black and white paper texture is to show how everyone is made of the same material, but just different colors, and the fold in the paper to show the severance Skip experienced from the reality of that time.
6.Lastly, this one represents colorblind as well. This is my weakest I feel, but I almost like the simplicity. Colorblind is shown in the use of only black and white.
June 1, 1951
Photo shoot of the segregated all African-American truck company with their new apparatus.
Florida State Senator Geraldine F. Thompson poses in front of three large portraits of Ms. American Florida Erica Dunlap, Ray Charles and Angela Basset born in St. Petersburg inside the Wells' Built Museum of African American History and Culture. The Wells's Built Museum was preserved to promote African history, culture and tradition. Senator Thompson was instrumental to the preservation of Wells' Built Museum.