10,512 research outputs found
[Cader Benjamin Powell, Sr.]
No full textCopy negative of a portrait of Cader Benjamin Powell, Sr. sitting in a lawn chair in a garden
[Cader Benjamin Powell, 1902]
No full textCopy negative of a portrait of Cader Benjamin Powell taken in 1902. He wears a suit and bow tie, and holds his hat in his left hand. In his other hand he holds an umbrella
Dr. Benjamin Hooks and Colin Powell
No full textDr. Benjamin Hooks with Colin Powell and two others at NAACP annual convention.https://digitalcommons.memphis.edu/speccoll-0445-hooks-gallery1/1564/thumbnail.jp
J.C. Painter letter to Benjamin Lundy
No full textLetter from J.E. Painter to (presumably) Benjamin Lundy, answering a request for information about the history and operations of the Underground Railroad. Letter includes details of a story of an ex-slave transported on the Underground Railroad through Ohio and stories of the plight of other fugitive slaves crossing the Ohio River.
Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His "Genius of Universal Emancipation" was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
Interview with Robert Lawson and Benjamin Powell
No full textEconomicStudies_AnalysisOn September 23, 2021, Dr. Robert Lawson and Dr. Benjamin Powell visited the Private Enterprise Research Center and that evening, they gave a presentation titled, �������Socialism versus Freedom�������� based on their book titled, Socialism Sucks. During their visit, they were interviewed by PERC��������s Dr. Andrew J. Rettenmaier
Mexican land grant contract to Benjamin Lundy, March 10, 1835 (English)
No full textLegal document from an unsigned officer to Benjamin Lundy, authorizing him rights as empresario to a tract of land in then-Mexico. The document extends a previous treaty made to Lundy by the government of Mexico from November 17, 1823 -- presumably, this land is to be the site of Lundy's freed slave colony. Original Spanish-language document is also a part of this collection. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
Eli Nichols letter to Benjamin Lundy, March 17th, 1839
No full textFriendly note from Eli Nichols to Benjamin Lundy covering topics in contemporary abolition, ranging from the social status of abolitionists to the oppression of the poor. Much of the letter concerns a review of contemporary social movements in equality-based education, including Shaker and Quaker communities. The letter concludes in discussion of Nichols' and Lundy's interest in forming a freed slave colony or community in then-Mexico, and describes the climate and culture of those regions in detail. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
17 March 1800. Benjamin Grymes, Eagles Nest, King George Co., Va., to Henry Lee, Philadelphia, Pa..
No full textConcern over time he spent in the Continental Army, and a claim being made over a pension?; wishes Col. Leven Powell be shown the letter also
Mexican land grant contract to Benjamin Lundy, March 10, 1835 (Spanish)
No full textLegal document in Spanish from the government of Tamaulipas, Mexico, to Benjamin Lundy, which appears to grant Lundy the rights of empresario for his proposed colony for freed slaves in Tamaulipas. This document appears to be truncated; it ends abruptly after 2 pages. Collection also includes a period translation of this contract with Lundy in English, which appears to contain the full text of the agreement. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
The Powell-Cotton Dioramas and the Re-interpretation of an Idyll
No full textThis research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so
it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality
that draws on architectural space; it then considers the three dimensional representation of
the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape
painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist
behind large glass screens their purpose follows an aesthetic relationship with the emergence of the
natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The
potential for this practice-based research was to explore the possibility of developing an aesthetic for
sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of
aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then
prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With
landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive
knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the
studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale
of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and
viewer 'activates' this space with their presence, they bring their own recollection of landscape and by
assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the
unknown and uncharted can refute reality, memory is dependent on what is known both formally and
informally, it places the natural habitat diorama in a visual system that is both constructive and
destructive. Therefore the research methodology examines the historical context of the diorama through a
doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick.
Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the
observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the
diorama's position in relation to film and film archaeology, which ultimately the diorama and natural
habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st
century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As
the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual
and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the
relationship of this practice based research project. Whereupon the research diary forms the basis of a
contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and
installations. By challenging Bal's analysis this research practice would investigate natural and projected
light and the visual language of transparency, translucency and opacity in the representation of landscape
and landscape as motif, and progressing to the structural implications of 2D and 3D work
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