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                  <text>SAVC 102: Ways of Seeing: Art History, Curating, and Museums is an Early College Program in Art History and Curatorial Studies. Ways of Seeing: Art History, Curating and Museums examines selected examples of African American and Western art. Via an online immersive course, students learn the  role of curators, are introduced to museums, and engage with the High Museum of Art,  art and archival collections in the Atlanta University Center and other significant  collections. Diversity of the museum and its staff as well as its changing audiences is  explored.&#13;
&#13;
Students prepare to be art historians and/or curators by completing exhibition  projects drawn from the High Museum of Art’s collection. The course is taught through a  hybrid of synchronous and asynchronous delivery.&#13;
&#13;
Artworks in this collection are selected from Atlanta University Center Robert W. Woodruff Library, Clark Atlanta University Art Museum, Spelman College Museum of Art, ad the High Museum of Art, .</text>
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                <text>Romare Bearden, American, 1911-1988</text>
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                <text>High Museum of Art</text>
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                <text>All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals.</text>
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                <text>Purchase with funds from Alfred Austell Thornton in memory of Leila Austell Thornton and Albert Edward Thornton, Sr., and Sarah Miller Venable and William Hoyt Venable, Margaret and Terry Stent Endowment for the Acquisition of American Art, David C. Driskell African American Art Acquisition Fund, Anonymous Donors, Sarah and Jim Kennedy, The Spray Foundation, Dr. Henrie M. Treadwell, Charlotte Garson, The Morgens West Foundation, Lauren Amos, Margaret and Scotty Greene, Harriet and Edus Warren, The European Fine Art Foundation, Billye and Hank Aaron, Veronica and Franklin Biggins, Helen and Howard Elkins, Drs. Sivan and Jeff Hines, Brenda and Larry Thompson, and a gift to honor Howard Elkins from the Docents of the High Museum of Art © 2019 Romare Bearden Foundation/VAGA at Artists Rights Society (ARS), New York</text>
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                  <text>CAU SLIS Vertical File; Countee Cullen-Harold Jackman memorial collection; Virginia Lacy Jones papers</text>
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                  <text>&lt;p&gt;Prior to the gains made during the Civil Rights movement, library schools, like other educational institutions, were typically segregated based on race. Filling the void created when the Hampton Institute (now known as Hampton University) School of Library and Information Services closed in 1941, Atlanta University opened its own School of Library and Information Services. The program would later be known as the Clark Atlanta University School of Library and Information Studies when Atlanta University merged with Clark College in 1989. Though CAU’s School of Library and Information Studies closed its doors in 2005, the Archives Research Center (ARC) at the Atlanta University Center (AUC) Robert W. Woodruff Library houses several collections showcasing the contributions to the field of librarianship made by faculty and staff at the AUC as well as prominent black librarians outside the AUC. The first director of the AUC Robert W. Woodruff Library (and namesake of the library’s Exhibitions Hall), &lt;a href="http://findingaids.auctr.edu/repositories/2/resources/66" target="_blank" rel="noopener"&gt;Virginia Lacy Jones&lt;/a&gt; was the second African American to earn a doctorate in Library Science from the University of Chicago. Working alongside Jones at Atlanta University’s School of Library and Information Service was &lt;a href="http://findingaids.auctr.edu/repositories/2/resources/141" target="_blank" rel="noopener"&gt;Hallie B. Brooks&lt;/a&gt; who taught at AU for 47 years. Other prominent black librarians featured throughout ARC collections include: Dorothy Porter, who built Howard University’s Moorland-Spingarn Research Center into the world-class research institution it is today, Sadie Peterson Delaney, a pioneer in bibliotherapy who served as chief librarian of the Veterans Administration Hospital in Tuskegee, AL for 34 years, and Arna Wendell Bontemps, head librarian at Fisk University and noted Harlem Renaissance figure.&lt;/p&gt;&#13;
&lt;p&gt;If you’d like to explore these collections further, contact the Archives Research Center at archives@auctr.edu to make an appointment, and stay tuned for our upcoming exhibit on the history of AUC’s library school.&lt;/p&gt;</text>
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                <text>Program For Virginia Lacy Jones' Appointment as Director, 1981</text>
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                <text>Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).</text>
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                <text>Projects and Task Forces: Voter Education Project</text>
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                  <text>The Alchemist’s Notebook: &#13;
The Satire, Remixes, and Haunts of Black Kirby &#13;
&#13;
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                  <text>Suspend your disbelief with me for a moment.&#13;
&#13;
Imagine the alchemists at work in their lair. Watch as they use a set of rusty tools to handle raw, crude materials and melt them down to more malleable forms. As they carefully mix the isolated substances together, listen as they whisper a forgotten tongue from a dusty leather-bound notebook. When the ritual is over and the notebook has been cast aside into the shadows, you witness the substance start to stir. As it twists and turns in the immense heat, you smell the stench of a hot fusion that breathes life into a new creation, indeed a new element, that has never existed before. &#13;
&#13;
This new element is the art of Black Kirby, and this exhibition provides a peek into their notebook of esoteric spells. &#13;
&#13;
Black Kirby—the pseudonym assumed by the acclaimed visual artists and professors John Jennings and Stacey Robinson—are Alchemists. They take raw materials from black history, hip hop, and comic book mythology and remix them to create new universes, never-before seen technologies, and biting satires about the world we live in today. Each of the Black Kirby images serves as a funky rare artifact from an alternate universe, fully formed, and autonomous from its earthly origins. &#13;
&#13;
However, sourced from the Archives Research Center collections, this exhibition investigates these origins by patching together the real-world historical influences eluded to in Black Kirby’s pieces. While the list of the full ingredients in Black Kirby’s cauldron remains a tightly guarded secret, a glimpse in the alchemist’s notebook will help illustrate the historical narratives and traditions in conversation with their work. &#13;
&#13;
&#13;
&#13;
&#13;
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