1 10 15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Designers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 27 Chicago Designers Description An account of the resource Twenty-Seven Chicago Designers was a membership organization founded in 1936 by a group of twenty-seven graphic designers, typographers, and illustrators with the goal of promoting their design talent to commercial businesses. The group publication Twenty-Seven was the primary vehicle for showcasing their work. Early examples of Twenty-Seven illustrate the ways in which a modernist design aesthetic came to be adapted by designers working in the Midwest in the 1930s and 1940s. The series charts the stylistic changes of group members over time and firmly positions Chicago as a hub of commercial design in twentieth-century America. Over the course of its fifty-five-year history, 27 Chicago Designers published thirty-eight issues of Twenty-Seven. Every member was invited to submit a selection of exemplary projects—often advertisements or book, product, and package designs—for publication. John Averill, a typographic designer and founding member of the organization, established the layout of the publication, allocating each designer four pages to present their work. The designers were charged with creating and illustrating their entries, with some even printing their own inserts. The entries were bound in alphabetical sequence, and blank section dividers were used to distinguish adjacent entries. With the exception of minor size modifications and changes to the binding, Twenty-Seven maintained a consistent format throughout the run of the publication. Its editors imposed very few limitations, and the designers could showcase work according to their own tastes and budgets. As a result, the publication presents a great variety of styles. Members distributed the books to their respective mailing lists, and the publication was made available for sale in select bookstores. In addition to advertising the design talents of its members, Twenty-Seven promoted the services of the printers, engravers, typographers, electrotypers, and paper companies who contributed to the production of the publication. Twenty-Seven thus offers insight into the landscape of commercial businesses that fueled the growth of Chicago’s robust advertising industry. Many well-known designers participated in 27 Chicago Designers, including Oswald Cooper, R. Hunter Middleton, and Edgar Miller, three of the group’s founding members. The group maintained a membership of twenty-seven designers at all times. New members were initiated through a vote of the existing membership as space became available. A total of one hundred twenty-eight designers would eventually participate. John Massey and Rick Valicenti, who joined in 1969 and 1986 respectively, attained international acclaim. Bobbye Cochran, who became a member in 1986, was honored as Adweek Magazine’s “1984 National Illustrator of the Year.” She was the first woman to be recognized with this distinction. In 2016, the Richard J. Daley Library at the University of Illinois at Chicago presented Selling Design: 27 Chicago Designers 1936–1991, an exhibition marking the eightieth anniversary of the establishment of the organization. Jack Weiss, a former chairman of 27 Chicago Designers and co-curator of the exhibition with design historian Lara Allison, has invested considerable energy into preserving the history of the group. The Special Collections and University Archives at the Daley Library maintain the administrative records of the organization and a complete collection of the thirty-eight books published by 27 Chicago Designers between 1936 and 1991, when the association dissolved. Source A related resource from which the described resource is derived 27 Chicago Designers. Twenty-Seven. Chicago: The Designers, 1938. https://chicagodesignarchive.org/project/1b-30 27 Chicago Designers. Twenty-Seven Chicago Designers: The Fortieth Year. Vol. 31. Chicago: The Designers, 1975. AIGA Chicago. “Selling Design: 27 Chicago Designers 1936–1991 Exhibit Opening at UIC University Library.” https://chicago.aiga.org/event-internal/selling-design-27-chicago- designers-1936-1991-exhibit-opening-at-uic-university-library/. “Art: First of Kind Class at Gallery.” Quad-City Times, February 23, 1964. “Artist to Speak.” The Pantagraph, March 31, 1991. “David Lawrence, 40, Leading Graphic Designer.” Chicago Tribune, October 6, 1984. “Designers Featured.” The Times, December 1, 1978. Essex, Joseph Michael, Lara N. Allison, and Jack Weiss. 27 Chicago Designers: When Art Became Design, 1936–1991. Richmond, British Columbia: Blanchette Press, 2016. “European Influences on Chicago Designers.” Print 7, no. 6 (March 1, 1953): 26. Jack Weiss Design Papers, 1939-2015, Special Collections and University Archives, University of Illinois at Chicago. Lagana, Gretchen. “Collecting Design Resources at the University of Illinois at Chicago.” Design Issues 3, no. 2 (Autumn 1986): 37–46. McVicker, George. “European Influences on Chicago Designers.” In Print, Magazine of the Graphic Arts 7, no. 6 (March, 1953): 26. Patterson, Rhodes. “The 27 Chicago Designers at 50.” Communication Arts 28, no. 8 (February 1987): 70–77. Society of Typographic Arts. “27 Chicago Designers.” Vimeo video, 10:10. July 6, 2012. https://vimeo.com/45324415. “The 27 Chicago Designers.” IDEA 22, no. 124 (May 1974): 30–43. The Art Institute of Chicago. “Selling Design: 27 Chicago Designers, 1936–1991, Sep 26–Nov 20, 2017.” http://www.artic.edu/exhibition/selling-design-27-chicago-designers-1936-1991. The Chicago Design Archive. “27 Chicago Designers.” https://chicagodesignarchive.org/client/27-chicago-designers. Twenty-Seven Chicago Designers: 1986 Edition. Edited by William Kaulfuss. Chicago: 27 Chicago Designers, 1986. Twenty-Seven Chicago Designers Collection. Special Collections. Richard J. Daley Library, University of Illinois at Chicago. Weiss, Jack. “Exhibition to Honor 80th Anniversary of 27 Chicago Designers.” Graphic Design USA. http://gdusa.com/blog/exhibit-to-honor-80th-anniversary-of-27-chicago-designers. Yaqub, Reshma Memon. “Whimsy and Widgets.” Chicago Tribune, July 4, 1993. Young, Chris. “Henry John Robertz, 77; Designer Was an Industry Innovator.” Chicago Tribune, June 25, 2004. Professional organizations promotional publications UIC SC and Archives Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A.C. McClurg & Co. Description An account of the resource A.C. McClurg & Co., a book publishing house and the first stationery business in Chicago, began in 1844 as W.W. Barlow & Co. Within five years of its establishment, the company underwent several transitions in ownership and partnership, with its name changing to S.C. Griggs & Co. and then to Griggs, Bross & Co. In 1859, Alexander C. McClurg (1832–1901) was hired as a clerk. McClurg was born in Philadelphia and moved to Pittsburg with his family. He attended the University of Western Pennsylvania and graduated from Miami University in 1853 with a degree in law. He passed the bar but never pursued a profession in law. After inquiring about employment via letter, McClurg moved to Chicago and began working at S.C. Griggs & Co. In 1861, McClurg enlisted as a private soldier in the Union Army. He encountered action early in his military career. Based on his meritorious services, he was promoted Captain of the Eighty-Eighth Illinois Volunteer Infantry Regiment, and, by the end of the war, he had achieved the status of Lieutenant General. Leaving the service with honors, McClurg returned to his appointment at S.C Griggs & Co. In 1868, a blaze destroyed the entire inventory of S.C. Griggs. In 1871, a second disaster—the Great Chicago Fire—once again annihilated the store. After McClurg, E.L. Jansen, and F.B. Smith purchased S.C. Griggs’s shares, the company became known as Jansen, McClurg & Co. until Jansen’s retirement in 1886. Thereafter, it presumed its longest-lasting name: A.C. McClurg & Co. In 1876, McClurg married Eleanor Wheeler (1847–1905), an heiress and niece of Chicago mayor William B. Ogden. The retail business S.A. Maxwell & Co. sold their wholesale and retail book business and stationery business to A.C. McClurg & Co. in 1890. McClurg went on to expand the business, making his company a staple in midwestern publishing and a dominant presence on a national scale. McClurg paid special attention to the book departments, often traveling abroad to find rare books for the company and bookstore. He published the popular monthly literary magazine The Dial from 1880 to 1892. Charles Wilder Davis managed the publishing department until his death in 1898. In addition to its publishing house, the firm supplied general stores with top-of-the-line stationery and writing instruments, for which wholesale department head John B. Fay traveled to Europe to procure. Serving as a wholesaler to retailers in the Midwest and western United States, A.C. McClurg & Co. also supplied toiletry goods such as toothbrushes, hair combs, and druggists’ items. The business succumbed to yet another fire on February 12, 1899, this time at its five-story red brick building on Wabash Avenue and Madison Street, which McClurg & Co. had occupied for sixteen years. As the Chicago Daily Tribune news story noted, “Bibliophiles all over the country will feel a sense of personal loss in the destruction of ‘Saints and Sinners Corner,’ the southwestern corner of the ground floor of the McClurg Building, which was given up to George M. Millard and rare literary treasures. The department was established in 1874, and Mr. Millard has managed it ever since.” Following this misfortune, McClurg announced he would retire from the business and focus on his literary interests. When the company was reorganized, he distributed some stock to his employees and offered shares to them at a reasonable rate. He died in 1901 from Bright’s disease and was buried at Graceland Cemetery, where a sixteen-foot granite Celtic cross marks his family plot. Built after the fire in 1899 and located in the Loop, the McClurg Stationers and Booksellers Building was designed by the Chicago School architectural firm Holabird & Roche. The historic nine-story skyscraper entered the National Register of Historic Places in 1970. As Joseph J. Korom, Jr. describes in The American Skyscraper, 1850–1940: “The McClurg is hidden on Wabash Street, just south of Adams. Its noisy mid-block location places it adjacent to the elevated train tracks of the Wabash line, and just south of an iron-trussed commuter station perched level with its second floor. Here is a microcosm of fin de siècle Chicago where immediate access to public transportation was paramount to a skyscraper’s tenants, customers, and the ultimate economic success of the skyscraper itself.” Although the building lacked windows on its sides, Holabird & Roche remedied the absence of sunlight with nine thousand square feet of windows on the building’s façade. In subsequent years, A.C. McClurg & Co. moved away from collecting rare and fine books and turned toward publishing new works, including Edgar Rice Burroughs’s commercially successful Tarzan of the Apes novels. One of A.C. McClurg and Co.’s most culturally and historically significant publications was sociologist and activist W.E.B. Du Bois’s collection of essays The Souls of Black Folk (1913). In 1923, A.C. McClurg sold its Wabash Street shop to Bretano’s, a bookstore established in New York by August Brentano, to focus on its wholesale operations. A.C. McClurg remained in business until its liquidation in 1962. Source A related resource from which the described resource is derived “A Richly-Attired Thief: Caught Shop-Lifting at A.C. McClurg & Co.’s by a Clerk.” Chicago Daily Tribune, March 9, 1888. A.C. McClurg & Co. A.C. McClurg & Co.’s Catalogue of Fine and Rare Imported Books. Chicago: The Company, 1907. A.C. McClurg & Co. A.C. McClurg & Co.’s Illustrated Price List of Blank Books, Stationery, Photograph Albums, Holiday Goods, Etc., Etc. Chicago: The Company, 1886. A.C. McClurg & Co. A Classified Catalogue of 3,500 Volumes Suitable for a Public Library. Chicago: A.C. McClurg & Co., 1901. A.C. McClurg & Co. Illustrated Holiday Catalogue, 1895–6. Chicago: A.C. McClurg & Co., 1895. A.C. McClurg & Co. Records, The Newberry Library, Chicago. “A.C. McClurg Acquired.” Chicago Tribune, December 28, 1966. Babcock, Frederic. “Among the Authors.” Chicago Daily Tribune, July 14, 1946. Biographical Sketches of the Leading Men of Chicago. Chicago: Wilson & St. Clair, 1868. Butcher, Fanny. “The Literary Spotlight.” Chicago Daily Tribune, July 23, 1950. Butcher, Fanny. “The Literary Spotlight.” Chicago Daily Tribune, July 26, 1959. “Charles Wilder Davis Dead: Commander of the Loyal Legion and Connected with A.C. McClurg & Co.” Chicago Daily Tribune, December 16, 1898. “Chicago Real Estate: Mandel Bros. Lease the Old M’Clurg Building Site; Form Intends Erecting a Fireproof, Nine-Story Structure on the Wabash Avenue and Madison Street Corner, Connecting with Their Stores.” Chicago Daily Tribune, June 24, 1900. Clark, Herma. “When Chicago Was Chicago.” Chicago Daily Tribune, February 9, 1947. “Contract for Books Awarded: Public Library Trustees Will Buy New American Works from A.C. McClurg & Co.” Chicago Daily Tribune, June 28, 1904. Cottenet, Cécile. Race, Ethnicity, and Publishing in America. New York: Palgrave Macmillan, 2014. “Death of A.C. McClurg; Head of Chicago Publishing House Expires at St. Augustine, Where He Went to Seek Health.” New York Times, April 16, 1901. Dietrich, Lucas. “Across the Color Line: Race, Reception, and the U.S. Literary Marketplace, 1877–1920.” PhD diss., University of New Hampshire, 2015. Dietrich, Lucas. “At the Dawning of the Twentieth Century: W.E.B. Du Bois, A.C. McClurg & Co., and the Early Circulation of The Souls of Black Folk.” Book History 20 (2017): 307–329. Drury, John. Dedicated to the Friends, Customers, and Employees of A.C. McClurg & Co. on the Occasion of Its Centennial, 1844–1944. Chicago: A.C. McClurg, 1944. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries. Dzwonkoski, Peter, American Literary Publishing Houses, 1638–1899. Detroit, Michigan: Gale Research, 1986. “Erase All Social Lines: Women of St. James’ Church Guests at a Tea; Mrs. A.C. McClurg Invites Every Member, Irrespective of Husband’s Calling—Several Hundred Attend the Reception in Lake Shore Drive Residence—Plans for Raising $75,000 Endowment Fund Are Discussed Informally.” Chicago Daily Tribune, December 11, 1904. “Expansion on State Street.” Chicago Daily Tribune, June 24, 1900. Federal Writers’ Project, Illinois. Illinois: A Descriptive and Historical Guide. Chicago: A.C. McClurg & Co., 1947. “Gen. M’Clurg’s Apologies.” Chicago Daily Tribune, September 9, 1888. “General A.C. M’Clurg, Who Died Yesterday.” Chicago Daily Tribune, April 16, 1901. “House of General A.C. McClurg, Lake Shore Drive, Chicago, Ill.” American Architect and Building News 36 (April 16, 1892): 46, pl. 851. Illustrated Holiday Catalogue, 1895–6. Chicago: A.C. McClurg and Co., 1895. Korom, Jr., Joseph J. The American Skyscraper, 1850–1940: A Celebration of Height. Boston: Branden, 2016. “Lenten Sewing by Women Will Benefit Hospitals: Mrs. A.C. McClurg and Her Friends Have Prepared 1,600 Garments to Be Given to the Needy.” Chicago Daily Tribune, March 29, 1904. “Maxwell Confirms the Sale: A.C. McClurg & Co. Are Now Proprietors of His Establishment.” Chicago Daily Tribune, January 1, 1891. “M’Clurg’s Store in Ruins: Big Bookhouse and Contents at Madison and Wabash Burn; Blaze Starts at 10 A.M. Simultaneously with an Explosion on the Third Floor, and in Three Hours the Ruin Is Complete—Plans for Erecting a New Building Under Consideration—Water Damages Mandel Bros. and Others—Total Loss $650,000.” Chicago Daily Tribune, February 13, 1899. McClurg, A.C. “From A.C. McClurg & Co.” The Literary World: A Monthly Review of Current Literature 29, no. 4 (February 19, 1898): 58. “McClurg Has Completed Its First Hundred Years.” Publishers’ Weekly 146 (September 2, 1944): 814–819. “McClurg’s New Building: 120-Year Old Firm to Start Its Plant on Anniversary.” Chicago Tribune, August 2, 1963. McIlvaine, Mabel. Reminiscences of Chicago during the Civil War. Chicago: R.R. Donnelley , 1914. Morris, Charles, ed. Men of the Century: An Historical Work Giving Portraits and Sketches of Eminent Citizens of the United States. Philadelphia: Hamersly & Co., 1896. Morris, Jack Cassius. “The Publishing Activities of S.C. Griggs and Company, 1848–1896; Jansen, McClurg and Company, 1872–1886; and A.C. McClurg and Company, 1886–1900; with Lists of Publications.” MLS thesis, University of Illinois, 1941. “Mosaics.” The Inland Architect and News Record 42, no. 2: (April 1903): 24. Mott, Frank L. A History of American Magazines, Volume III: 1865–1885. Cambridge: The Belknap Press of Harvard University Press, 1938. “Mrs. Carter Harrison Writes Travel Book.” Chicago Daily Tribune, December 23, 1918. “New Location for M’Clurg: Firm Takes Up Temporary Quarters in Keith Building—Fire in Open Board of Trade.” Chicago Daily Tribune, February 14, 1899. “New Store for M’Clurg: Arrangements Made for Erection of Large Building; Proprietors of Book Concern Negotiating with Several Firms—Announce Present Quarters Are Temporary and Expected to Be in New Establishment by Fall—Fail to Reach Terms with Rutters, Who Own Site of Fire-Wrecked House.” Chicago Daily Tribune, February 28, 1899. “Plan to Continue Business: Members of McClurg & Co. Discuss Schemes for a New Building on the Old Site.” Chicago Daily Tribune, February 13, 1899. “Recent Realty Sales and Leases: A.C. McClurg & Co. Will Continue to Occupy Their Present Quarters.” Chicago Daily Tribune, April 11, 1897. “Residence of A.C. McClurg, Chicago.” Inland Architect and News Record 20 (December 1892): 58. “Says Book Ridicules Him: W.H. Lytell Sues A.C. McClurg & Co., Publishers, for Damages; Story of Theatrical Life; Manager ‘Bill Truetell’ Alleged to be Caricature of Plaintiff.” Chicago Daily Tribune, May 26, 1909. Smith, Frederick B. A Sketch of the Origin and History of the House of A.C. McClurg. Chicago: A.C. McClurg & Co., 1902. Smith, Harold Bryon and Griggs, S.C. Chicago Book Trade. Chicago: S.C. Griggs & Company, <ol> <li> 1858–1860.</li> </ol> books (retailers) Graceland Cemetery Holabird & Roche Publishing houses stationery Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Designers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbott Laboratories Description An account of the resource Chicago pharmacist and physician Wallace Calvin Abbott (1857–1921) founded the Abbott Alkaloidal Company in 1900. The medical business, renamed Abbott Laboratories in 1915, started with the success of Abbott’s alkaloid pills that he produced in his own home. A new formula at the time, alkaloid pills, or “dosimetric granules” as he called them, were solid tablets of commonly prescribed liquid medications, such as morphine, codeine, and quinine. This method made it easier for pharmacists to prescribe more exact dosages and increased the shelf life of medications. Although he did not invent this method, Abbott was one of the first physicians to improve upon the idea and devise a method of manufacturing tablets in precise measurements and large quantities. During World War I, Abbott Laboratories produced substitutes for medications previously exported from German pharmaceutical companies. As a result, Abbott’s company quickly grew and began funding research for the development of new drugs. Prior to the late nineteenth century, medicines were derived from natural sources in the forms of herbs, plants, and roots. The manufacturing of chemicals for synthetic drugs marked a turning point in the pharmaceutical industry. British chemist Henry Dakin’s invention of the antiseptic Chlorazene, the first synthetic medicine manufactured by Abbott Laboratories, was indispensable in treating the wounds of World War I soldiers. During the 1920s and 1930s, the company collaborated with chemists Dr. Ernest H. Volwiler and Dr. Roger Adams, head of the Department of Chemistry at the University of Illinois at Urbana-Champaign, who developed the local anesthetic Butyn in 1922. Volwiler, along with Dr. Donalee L. Tabern, discovered the widely used general anesthetic sodium thiopental, trademarked Pentothal, in 1936. After Abbott’s death in 1921 at the age of sixty-three, the company continued to prosper and opened its new manufacturing facilities in North Chicago. In 1933, Abbott Laboratories participated in the Century of Progress International Exposition. Pamphlets produced by Abbott Laboratories for the Chicago World’s Fair, include “Halibut: The Interesting Fish That Cannot Live in an Aquarium,” lauding the health benefits of halibut liver oil capsules, and “The Food You Have Never Seen,” an informative brochure on vitamins. Dr. Ernest H. Volwiler, then vice president of Abbott Laboratories, and Dr. C.J. Barborka, a nutrition specialist at Northwestern University, delivered speeches at the dedication ceremonies for the Hall of Science. The Abbott Laboratories’ exhibition displayed pure vitamins in crystallized form and demonstrated the applications of vitamins by the pharmaceutical industry. Four years earlier, in 1929, Dr. Christiaan Eijkman and Sir Frederick Gowland Hopkins had shared the Noble Prize in Physiology or Medicine for their advances in the field of vitamins. By the mid-1930s, multivitamin products manufactured by pharmaceutical companies were widely available and heavily advertised. Abbott Laboratories hired Chicago-based graphic designer Bert Ray as the art director of its company magazine What’s New, which debuted in 1935. A founding member of the Twenty-Seven Chicago Designers, Ray’s award-winning designs for the magazine introduced art and design to the genre of pharmaceutical publications. Ray was praised as a forerunner in “the application of design to pharmaceutical advertising.” During his tenure at Abbott Laboratories, Ray also taught commercial design courses in “production processes for advertising design students” at the School of the Art Institute of Chicago. Abbott Laboratories was a long-term client of Chicago calligrapher and designer Raymond F. DaBoll whose correspondence with Abbott Laboratories, original artwork, and printed specimens are available to researchers at the Newberry Library. The Chicago History Museum Research Center holds photographs of Abbott Laboratories facilities by the Chicago photography firm Hedrich-Blessing as well as a selection of archival materials related to the pharmaceutical company. Beginning in the 1940s, Abbott Laboratories became one of the first mass producers of penicillin. The following decade, Abbott Laboratories began distributing the sugar substitute Cyclamate. As its first foray into consumer products, Cyclamate was initially a profitable product for Abbott Laboratories and was marketed as a safe alternative to sugar for people with diabetes. Its popularity rose as diet-conscious Americans replaced sugar with Cyclamate in their beverages and cooking; however, in 1970, the Food and Drug Administration (FDA) classified Cyclamate as a carcinogen and banned further production. In 1967, Chicago businessman Edward J. Ledder was appointed the president of Abbott Laboratories, ushering in a new era for the company that included consumer products in addition to its standard pharmaceutical production. Ledder hired former Revlon associate Melvin Birnbaum to manage the transition, and the diversification strategy proved fruitful. Over the years, Abbott has produced numerous consumer products in the fields of nutrition, healthcare, and vision, including Similac baby formula, the electrolyte solution Pedialyte, Selsun Blue medicated shampoo, Pream nondairy coffee creamer, and Murine eye drops. During the 1980s, Abbott Laboratories produced electronic testing methods that provided more accurate results than their analogue counterparts, receiving great support from hospitals across the country. In 1985, Abbott Laboratories received FDA approval for the first blood-testing kit for the human immunodeficiency virus (HIV). In 2000, the company introduced drugs to treat and prevent the spread of HIV, most notably the drug Kaletra, which showed fewer side effects than other treatments on the market. That same year, Abbott received FDA approval for their drug Humira for the treatment of autoimmune diseases such as rheumatoid arthritis, Crohn’s disease, and psoriasis. Abbott Laboratories has remained successful into the twenty-first century, exceeding sixteen billion dollars in annual sales and employing nearly seven thousand Chicago-area employees. In 2012, the company split in two, with the medical device and consumer product branches retaining the name Abbott Laboratories and the pharmaceutical branch renamed AbbVie Inc. The decision to split was made primarily in the interest of shareholders who were increasingly skeptical of the investment risks in a company with such a wide range of products and fields. As of 2017, Abbott Laboratories produces products for consumers and healthcare professionals. They divide their products into six categories: Nutrition, Diagnostics, Vascular, Vision, Diabetes Care, and Pharmaceutical. Source A related resource from which the described resource is derived A Century of Progress records, Special Collections and University Archives, University of Illinois at Chicago. Abbott Laboratories. “Our History.” http://www.abbott.com/about-abbott/our- heritage.html. “Art Director Traces History of Magazine.” Dayton Daily News, October 20, 1950. Burrell, Brandon. “Abbott Laboratories: Provisioning a Vision.” PhD diss., Florida State University, 2013. Century of Progress International Exposition Publications, Crerar Ms 226, Special Collections Research Center, University of Chicago Library. “Century of Progress Notes.” Chicago Tribune, June 22, 1934. “Classes in New Fields Offered in Art Institute: Reorganize Industrial Design Division.” Chicago Daily Tribune, January 12, 1947. Corfield, Justin. “Abbott, Wallace Calvin (1857–1921).” Vol. 1 of The Encyclopedia of the Industrial Revolution in World History, edited by Kenneth E. Hendrickson III, 3. London: Rowman & Littlefield, 2015. “Countryside to Host Art Slide Lecture.” Roselle Register, March 6, 1968. De la Merced, Michael J. and Bruce Jaspen. “Abbott Labs to Split into 2 Companies.” New York Times, October 19, 2011. DeForest Sackett Papers, Special Collections and University Archives, University of Illinois at Chicago. “Dr. Wallace C. Abbott, Laboratory Chief, Dies.” Chicago Daily Tribune, July 5, 1921. “Graphic Design.” Chicago Tribune, March 12, 2018. Heller, Steven and Greg D’Onofrio. The Moderns: Midcentury American Graphic Design. New York: Abrams, 2017. International Directory of Company Histories, Volume 40. Farmington Hills, Michigan: St. James Press, 2001. Israelski, Edmond W. and William H. Muto. “User-Centered Design at Abbott Laboratories.” In Designing Usability into Medical Products, edited by Michael E. Wiklund and Stephen B. Wilcox, 257–268. London: Taylor & Francis, 2005. James Hayes Papers, The Newberry Library, Chicago. Kogan, Herman. The Long White Line: The Story of Abbott Laboratories. New York: Random House, 1963. Lagana, Gretchen. “Collecting Design Resources at the University of Illinois at Chicago.” Design Issues 3, no. 2 (Autumn 1986): 37–36. Margolin, Victor, et. al. Chicago Graphic Design: The Best of Contemporary Chicago Graphic Design with Essays on Past and Present Trends. Edited by Rob Dewey. Natick, MA: RWP/RP Elite Editions, 1994. Mary Gehr Papers, The Newberry Library, Chicago. “New President of Dartmouth Here March 29.” Chicago Sunday Tribune, March 24, 1946. “Obituaries: Bert Ray.” Chicago Tribune, November 17, 1969. “Obituary: Wallace Calvin Abbott, M.D., Chicago, Ill.” Medical Record 100, no. 3 (July 16, 1921): 114. Raymond Franklin DaBoll Papers, The Newberry Library, Chicago. Remington, R. Roger. Lester Beall: Trailblazer of American Graphic Design. New York: W.W. Norton, 1996. Richmond A. Jones Design Papers, Special Collections and University Archives, University of Illinois at Chicago. Sawyers, June Skinner. Chicago Portraits: New Edition. Foreword by Rick Kogan. Evanston, Illinois: Northwestern University Press, 2012. Snyder, Gertrude and Alan Peckolick. Herb Lubalin: Art Director, Graphic Designer, and Typographer. New York: American Showcase, 1985. Spigel, Lynn. TV by Design: Modern Art and the Rise of Network Television. Chicago: University of Chicago Press, 2008. Trasoff, Victor. “Pharmaceutical Advertising Design.” Graphis 9, no. 47 (March 1, 1953): 205–21, 247–49. W.C. Abbott.” American Druggist and Pharmaceutical Record 69, no. 8 (August 1, 1921): 59. Wilson, Mark R. “Abbott Laboratories.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/2522.html. A Century of Progress: Bert Ray company magazines phramaceuticals Raymond DaBoll science What's New Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource AIGA (American Institute of Graphic Arts) Description An account of the resource Established in 1914 as the American Institute of Graphic Arts, AIGA is the oldest professional organization devoted to design in the United States. Since its formation in New York, AIGA has grown to become one of the major professional associations dedicated to design in the United States and abroad. Its forty founding members included illustrator and designer F.G. Cooper (1883–1962) and typography pioneer Frederic W. Goudy (1865–1947) as well as prominent fine and commercial printers Hal Marchbanks (1877–1934) and William Edwin Rudge (1876–1931). The organization initially focused on the promotion of fine typography, bookmaking, and high-quality commercial printing. Responding to the new multi-faceted profession of the ‘designer,’ which emerged from the marketing needs of the flourishing American economy, AIGA helped to broaden the graphic arts into a diverse set of practices. As early as the 1920s, AIGA membership expanded to typographers, printers, illustrators, package designers, trademark designers, photographers, industrial designers, jewelry designers, and glass designers. It was also the first design association to accept women as members. Frances Atwater, a typographer at the New York Times, and Baltimore Museum of Art Director Florence N. Levy set this precedent. By the 1981, local AIGA chapters were initiated throughout the United States. As of 2010, the Chicago branch held a membership of 1,318. The association continues to connect practitioners, survey the field, and discuss developments. With a national membership of seventy chapters and 26,000 design practitioners, scholars, and students, AIGA is the largest design association in the nation, sponsoring design exhibitions, publications, lectures, workshops, and professional awards. Source A related resource from which the described resource is derived Challos, Courtney. “City Seeks Simpler Ballot: Officials Elect to Ask for Proposals from Graphic Designers.” Chicago Tribune, November 29, 2000. Challos, Courtney. “Redesigned Election Ballot to Get Trial Run in Primary.” Chicago Tribune, January 8, 2001. “Editorials: How to Make a Better Ballot.” Chicago Tribune, December 3, 2000. Emmett, Burton. “A.I.G.A. Spirit—What Is It?” July 10, 1924. http://www.aiga.org/aiga-spirit-what-is-it. “FLOR Recipient of AIGA Chicago Corporate Design Leadership Award.” PR Newswire, June 9, 2011. Heller, Steven and Marie Finamore, ed. Design Culture: An Anthology of Writing from the AIGA Journal of Graphic Design. New York: Allworth Press, 1997. Heller, Steven and Nathan Gluck. “Seventy-Five Years of AIGA.” http://www.aiga.org/aiga/content/inspiration/seventy-five-years-of-aiga/ “IIT Institute of Design Receives AIGA Corporate Design Leadership Award.” States News Service, February 2, 2005. Margolin, Victor. “Graphic Design in Chicago.” In Chicago Architecture and Design, 1923–1993: Reconfiguration of an American Metropolis, edited by John Zukowsky, 283–301. Munich: Prestel, 1993. Margolin, Victor and Robert Perlman, ed. Chicago Graphic Design: The Best of Chicago Graphic Design, with Essays on Past and Future Trends. Rockport, Massachusetts: RWP and Rockport Publishing, 1994. “Morningstar Receives AIGA Chicago Chapter Corporate Design Leadership Award.” PR Newswire, May 21, 2010. Mortell, Constance L. “Poetry Partners.” Chicago Tribune, March 14, 1996. “News of Authors and Books.” Chicago Daily Tribune, November 17, 1923. Sullivan, Barbara. “Morton International’s Report Wins in Midwest Competition.” Chicago Tribune, November 14, 1995. The American Institute of Graphic Arts. “AIGA: About.” http://www.aiga.org/about/. The American Institute of Graphic Arts. AIGA Chicago: 2009/2010. Chicago: Lake County Press, 2010. The American Institute of Graphic Arts. “AIGA Chicago: Mission.” https://chicago.aiga.org/about-us/mission/ The American Institute of Graphic Arts. AIGA Chicago: Snapshots 2006/2007. Chicago, Illinois: Lake County Press, 2007. The American Institute of Graphic Arts. “AIGA Design Archives: About.” http://designarchives.aiga.org/#/about The American Institute of Graphic Arts. “AIGA: FAQs.” http://www.aiga.org/faqs. The American Institute of Graphic Arts. “AIGA History Timeline.” http://www.aiga.org/history-timeline. “Typographic Art Group Sponsors Two Exhibits.” Chicago Daily Tribune, June 16, 1956. Professional organizations Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Center for Design Description An account of the resource esigners beyond Chicago and the Midwest, and its leadership began to include a mix of local and national board members. In 1989, as a result of this growth and enlarged geographic focus, STA changed its name to the American Center of Design (ACD). The organization continued to focus on design education and the elevation of public taste in graphic design, in addition to addressing the relationship of design and business through conferences, publications, seminars, and other programs. ACD was particularly concerned with new technologies, research, and ideas affecting the design profession. It explored these topics at its “100 Show,” a national curated design competition organized annually; through essays and criticism published in its design journals, including “Design Year in Review” and “People, Not Markets,” and in its “Quarterly Practice” newsletter; and at its “Annual Surfaces” conferences for professionals from the design and business sectors, the first of which was held in November of 1993. ACD also offered an annual conference every spring from 1991 to 1996 for students of design. These involved portfolio reviews and presentations by professionals in the field. ACD’s 1995 publication Interact included a CD-ROM with integrated content, demonstrating the organization’s interest in exploring new modes of interaction between print and digital design. ACD was recognized among I.D. (The International Design Magazine)’s inaugural “I.D. Forty” issue in 1993. Its editors highlighted the organization’s commitment to “generating debate about the focus, values, and judgments instrumental to the future of good design” and described ACD as “a rare resource of information” for designers. As ACD’s national visibility grew, it lost its local footing, membership among Chicago designers waned, and its financial future became tenuous. These difficulties were compounded as a growing number of new organizations and programs devoted to graphic design began to take hold in both business and design and as AIGA reestablished its regional chapters in cities like Chicago. ACD could not sustain itself in this environment and was liquidated by its board in April 2002. An ad-hoc group of former STA members based in Chicago continued to meet independently after the formation of the American Center for Design. This group committed themselves to securing Chicago’s graphic design history through conferences like Chicago by Design, organized by Jack Weiss and George Thompson in 1999, which assessed the holdings of design archives in Chicago, including those at the University of Illinois at Chicago, Chicago Historical Society (now the Chicago History Museum), the Newberry Library, and Northwestern University. STA formally organized as a new, separate organization in 1999 and continues its activities today. Source A related resource from which the described resource is derived “American Center for Design’s ‘Interact’ CD-ROM.” I.D. 42, no. 4 (August 1, 1995): 91. American Center for Design Records, 1927–1944, Chicago History Museum Research Center. Blauvelt, Andrew. “Calling for the New Imagists.” Eye 5, no. 17 (June 1, 1995): 84. Comberg, David. “Living Surfaces.” I.D. 43, no. 1 (February 1996): 90–91. Coupland, Ken. “The 100 Show: The Sixteenth Annual of the American Center for Design.” Graphis 50, no. 294 (December 1, 1994): 22. Coupland, Ken. “The 100 Show: The Nineteenth Annual of the American Center for Design.” Graphis 56, no. 328 (September 1, 2000): 12. Coyne, Patrick. “The ACD Conference on Interactive Media.” Communication Arts 36, no. 8 (February 1, 1995): 135–140. Daniels, Mary. Graphic Display. Chicago Tribune, February 9, 1992. “Design Student Grant, Miwa Wang, Institute of Design.” Statements 6, no. 3 (March 1991): 31. Dewey, Rob. The Society of Typographic Arts: A Seventy-five Year History. Edited by Jack Weiss. Chicago: The Society of Typographic Arts, 2002. Ehrenberg, Jennifer. “A Cold Eye: Dues and Don’ts.” Print 53, no. 3 (May/June 1999): 16–17. “Furthering the Faith: American Center for Design.” I.D. 1 (February 1993): 46. Hanson, Cynthia. “Taking a Wipe at Art.” Chicago Tribune, December 6, 1992. Heller, Steven. “Katherine McCoy, Educator, Designer, Writer.” Print 52, no. 4 (September 1998): 38. “Honorary Member Bill Moggridge.” Design Statements 9, no. 2 (June 1, 1994): 19. Kouri, Charles. “In a Changing World.” Statements 6, no. 2 (December 1, 1991): 18. “Living Surfaces.” I.D. 48, no. 5 (August 1, 2001): 78. Margolin, Victor. “Design History in the United States, 1977–2000.” The Politics of the Artificial: Essays on Design and Design Studies. Chicago and London: University of Chicago Press, 2002. McMillan, Sam. “Report from ACD: Design for the Internet.” Communication Arts 38, no. 8 (February 1, 1997): 131–136. Middleton, R. Hunter. “Twenty-five Years of STA History.” Print, March 1953. Mirapaul, Matthew. “Designing the Invisible Computer.” New York Times, October 28, 1999. Parker, Robert A. “Design: A Strategic Partnership with Business.” Communication Arts 35, no. 1 (April 1993): 28–32. Pratt, Steven. “Designer Cookbook Draws Upon Menus with Style.” Chicago Tribune, January 5, 1995. Society of Typographic Arts Records, Special Collections and University Archives, University of Illinois at Chicago. Spreenberg, Peter. “Designing a Multimedia Publication: American Center for Design Interact Journal.” CHI '95 Conference Companion on Human Factors in Computing Systems (May 1995): 89–90. Stangenes, Sharon, “50 Years of Logo-Motion.” Chicago Tribune, May 12, 1991. Steyer-Coyn, Stephanie. “The ACD Conference: Design for the Internet.” Communication Arts 37, no. 8 (January 1, 1996): 137. The Chicago Design Archive. “American Center for Design.” https://chicagodesignarchive.org/client/american-center-design. “The New Imagist: Expert without Qualities.” Statements: American Center for Design 11, no. 2 (1996): 8–12. “The Two McCoys: Collage and Montage: A Renowned Husband and Wife Team Talk about Design and the Elements of Blending.” Chicago Tribune, April 9, 1995. Tomcik, Andrew. “Graphic Design Triptypch.” Azure: Design Architecture & Art 9, no. 83 (September 1, 1992): 16. Society of Typographic Arts Susan Jackson Keig Walter Paepcke Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Furniture Mart Description An account of the resource Built in 1924, the American Furniture Mart was a leader in home furnishings and innovative marketing in Chicago. Providing record square footage for the display of furniture manufactured by hundreds of factories from across the nation, the American Furniture Mart facilitated connections between producers, retailers, and consumers. By offering a space dedicated to the meeting of manufacturers, distributors, and clients, the American Furniture Mart bridged the gap between offer and demand that had arisen in an economy increasingly based on mass production. Designed by architects George C. Nimmons (1865–1947), Max Dunning (1873–1945), and Henry Raeder (d. 1943), the American Furniture Mart building reached a height of seventeen stories and was celebrated as the largest building in world at the time its completion. (Consisting of two parts, the east end of the building was constructed in 1924 and the west end in 1926.) Strategically built on a prestigious lakefront lot in downtown Chicago, the American Furniture Mart at 666 Lake Shore Drive offered two million square feet of modern exhibition spaces enclosed in a Gothic-inspired shell. The American Furniture Mart was created exclusively for members of home furnishings businesses and prohibited the public from admission. Its grandiose scale and lavish ornamentation not only expressed the prominence of Chicago in the furniture industry, but also the centrality of Chicago within a national network of design and manufacturing. The sumptuous interiors of the Furniture Club of America attracted leaders in the furniture industry, and its restaurant provided members with a convenient place to hold business meetings. The American Exposition Palace, also located at 666 Lake Shore Drive, hosted fairs and expositions organized for wholesale buyers. Chicago gradually experienced a downturn in its dominance in the furniture industry, in part due to internal competition, such as the completion of the Chicago Merchandise Mart in 1931. Furniture production also declined during World War II, when the United States government prioritized military needs and issued restrictions on the use of lumber by civilians. The activities of the American Furniture Mart ended in 1979. Since then, the building was converted into residential condominiums and offices. In 1988, it was renamed Lake Shore Place and issued a new address, 680 North Lake Shore Drive. Source A related resource from which the described resource is derived “Am. Furniture Mart Obtains 333 Building: Control Gained by Stock Purchase.” Chicago Daily Tribune, December 23, 1954. “American Furniture Mart Reorganization Approved by Court.” Chicago Daily Tribune, July 19, 1935. “American Furniture Mart—‘World’s Largest Building.’” Chicago Daily Tribune, February 8, 1925. “Attendance Up in Chicago: More Buyers at Furniture Mart Than Year Ago—Buying Brisk Furniture Stores to Expand Buying.” New York Times, July 13, 1949. Chase, Al. “Furniture Mart Will Be World’s Largest Building.” Chicago Daily Tribune, May 3, 1923. Chase, Al. “Furniture Mart Site Is Changed to Shore Drive.” Chicago Daily Tribune, December 15, 1922. “Chicago Housefurnishing Exposition.” Crockery & Glass Journal 100, no. 24 (June 11, 1925): 19. “Chicago’s Furniture Mart, $10,000,000 Building, Bombed.” New York Times, December 9, 1930. Darling, Sharon. Chicago Furniture: Art, Craft & Industry 1833–1983. Chicago and New York: The Chicago Historical Society in association with W.W. Norton & Company, 1984. Diesenhouse, Susan. “New 15-Year Lease Keeps Playboy Based in Chicago.” Chicago Tribune, August 23, 2006. Dombrowski, Louis. “Chicago Industries: Wind City Dynamic Leader in Home Furnishing Field.” Chicago Daily Tribune, May 29, 1961. Douglas, Anne. “Furnishings Mart Yields Many an Interesting Item.” Chicago Tribune, June 24, 1972. Douglas, Anne. “Summer Furniture Plays Bigger Year ‘Round Role.” Chicago Daily Tribune, October 20, 1957. “Exhibitor’s List for Mart Given.” Furniture Manufacturer and Artisan 86, no. 2 (August 1, 1922): 62. “Files Furniture Plan: Chicago Mart Would Reorganize Under Bankruptcy Act.” New York Times, April 3, 1935. Fuller, Ernest. “Famous Chicago Buildings: MART.” Chicago Daily Tribune, February 28, 1959. “Furnishings Sales Set New All-Time Peak.” Chicago Daily Tribune, March 23, 1951. “Furniture Mart to Be Built: Building Project for Chicago Is Assured—Work to Begin June 15 and Building Completed in May 1923.” Furniture Manufacturer and Artisan 23, no. 5 (May 1, 1922): 175. “Furniture Mart to Observe 25th Birthday at July Show.” Chicago Daily Tribune, March 14, 1949. “Furniture Shows Open: Record Number of Buyers Attend at Chicago’s Marts.” New York Times, July 7, 1936. “Furniture Trade Flocks to Chicago: 43,000 Buyers and Sellers Expected at 2-Week Show Opening There Today.” New York Times, January 9, 1956. Gantz, Carroll. Founders of American Industrial Design. Jefferson, North Carolina: McFarland & Company, Inc., 2014. Goodenough, Louis. “Home Goods Market Opens to Cautious Buying: Buyers Continue Demand for Lower Prices, Better Quality and Design—Few Allocations Needed.” Women’s Wear Daily 78, no. 2 (January 4, 1949): 2. Heise, Kenan. “Irving Rosenberg, 89; Owned Furniture Firm.” Chicago Tribune, October 24, 1986. “Home Goods Market Off to Brisk Start: Thousands Crown Chicago Opening.” Women’s Wear Daily 92, no. 6 (January 10, 1956): 1. Ibata, David. “Mart Gets New Name, Address, Outlook.” Chicago Daily Tribune, March 3, 1988. “Illinois Ready to Tell World Why It Prospers.” Chicago Daily Tribune, September 23, 1924. Jentz, John B. “Furniture.” In Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, and Janice L. Reiff, 49. Chicago: University of Chicago Press, 2004. Johnson, Abbey. “Trends in Furniture Styles Analyzed by Top Designers.” Chicago Daily Tribune, June 26, 1960. Knoch, Joanne. “Furniture Industry Polishes Its Display.” Chicago Daily Tribune, January 3, 1963. Korom, Joseph J. The American Skyscraper, 1850–1940: A Celebration of Height. Boston: Branden Books, 2008. Lewis, Caroline. “The Home Furnishings Show: What Does It Mean to You Homemakers?” Chicago Tribune, June 9, 1963. Markoutsas, Elaine. “Playboy Goes for Classic Lines.” Crain’s Chicago Business 13, no. 14 (April 2, 1990): 20. McLennon, C.M. America’s Greatest Furniture Mart. Chicago: Wells Company, 1925. “New Plastic Chair Made to Fit Body.” Chicago Daily Tribune, September 19, 1948. “‘New World Kitchen’ Is Introduced by G.E.” New York Times, January 4, 1951. Pulos, Arthur J. The American Design Adventure, 1940–1975. Cambridge, Massachusetts: MIT Press, 1990. “Registration for American Furniture Mart Breaks All Records.” Crockery & Glass Journal 103, no. 2 (July 15, 1926): 23. “Reports Rise in Furniture Growth Plan.” Chicago Daily Tribune, June 24, 1958. “Retail Furniture Reported on Rise: Home Goods Industry Survey Finds Refills Difficult for Some Merchants.” New York Times, September 14, 1949. “Retailers Shop as Home Goods Markets Open: Initial Activity Light at Chicago and Grand Rapids, with Optimism Shown on Future Business.” Women’s Wear Daily 82, no. 119 (June 19, 1951): 10. Scranton, Philip. Endless Novelty: Specialty Production and American Industrialization, 1865–1925. Princeton: Princeton University Press, 1997. Scranton, Philip. “Multiple Industrializations: Urban Manufacturing Development in the American Mid-West, 1880–1925.” Journal of Design History 12, no.1 (1999): 45–63. Sherlock, Barbara. “Thomas J. Lyman, 83; Leasing Executive Filled Furniture Mart Showrooms.” Chicago Tribune, May 5, 2005. Smythe, J.H. “The Chicago Market: American Furniture Mart.” Crockery & Glass Journal 104, no. 26 (June 30, 1927): 18. “Stetson China Company Makes Marked Progress: Chicago Concern Has Grown from Small Business with Five Employees to Large Manufacturing Organization Employing Eighty-Five People—Recently Opened Showroom in American Furniture Mart.” Crockery & Glass Journal 104, no. 1 (January 6, 1927): 13. Taylor, Lynn. “Home Furniture Market Begins.” Chicago Tribune, June 15, 1969. “Vaughn Lee Alward: Retired President of American Furniture Mart Was 65.” New York Times, July 6, 1938. Weigle, Edith. “Furniture Show Defines Spring Styles: Manufacturers’ Exhibit at American Furniture Mart Will Give Advance News to Retail Buyers.” Chicago Daily Tribune, January 3, 1932. “William H. Wilson Dies in Virginia: Official American Furniture Mart Was on Business Trip Began Work at 16.” New York Times, April 19, 1935. home furnishings Lake Shore Drive Merchandise Mart Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Armour & Co. Description An account of the resource Armour & Co., a meatpacking business, was established as Plankinton, Armour & Co. by John Plankinton (1820–1891) and Philip Danforth Armour (1832–1901) in 1863. Initially based in Milwaukee, the company saw tremendous growth during the American Civil War and went on to open branches in Chicago and Kansas City. Philip Armour relocated to Chicago in 1875 to manage the company’s office there, and Plankinton left the business in 1884. The Armour family assumed full responsibility for the company thereafter, with Jonathan Ogden Armour, Philip’s son, assuming leadership in 1901. Armour & Co. became one of the largest meatpacking businesses in the United States and, along with similar companies founded by George Hammond and Gustavus Swift, helped secure Chicago’s reputation as what poet Carl Sandberg called the “Hog Butcher for the World.” Packinghouses situated on the banks of the Chicago River and major railway expansions such as the development of the Union Stockyards in 1860 allowed for the easy importation of surplus livestock from midwestern farms into Chicago and the subsequent distribution of processed meats to consumers around the country. Twelve million cows and pigs passed through the Union Stockyards in 1890 alone. Historically, the production calendar of the meatpacking industry was dictated by the seasons, with meat processing and transportation occurring primarily in the cold, winter months to avoid spoilage. Technological advances in refrigeration enabled unprecedented year-round operations, and ice-chilled railcars allowed for the shipment of raw, dressed meats over long distances. Armour & Co. gained a competitive edge because it streamlined the meatpacking process, innovating steam hoists used to lift and move cow and pig carcasses and envisioning new purposes for meatpacking byproducts. The company worked with scientists to develop industrial and consumer goods from the non-comestible parts of the animals it processed. Bones and hides were either sold or used to make gelatin, leather goods, hair and paint brushes, candles and soaps, glue, fertilizer, glycerin, an inexpensive alternative to butter called oleomargarine, and ammonia. Armour envisioned the packing house of the future as a site that might eventually “include a tannery, a boot and show factory, a cloth mill and a mammoth tailor shop.” Efficiency was key to Armour & Co.’s success, as was its reliance on the underpaid, unregulated labor of immigrant communities in Chicago. Armour & Co. and other Chicago packing houses were the sites of significant labor organization at the turn of the century. Workers organized strikes in support of an eight-hour workday and wage increases, and the social reformer Jane Addams met with J. Ogden Armour in 1904 to advocate for the city’s packinghouse laborers. Upton Sinclair’s The Jungle (1906), which was based on interviews with laborers, representatives from Chicago’s settlement houses, and health inspectors, as well as his firsthand observations of slaughterhouses around the Union Stockyards, presented a damning view of the harsh working conditions and lack of sanitation standards in the industry. The book resulted in the passage of the Meat Inspection Act in 1906, which imposed new regulations and quality controls on meat packers. Armour & Co. accumulated great wealth as a result of the company’s business practices, and the Armour family supported many philanthropic causes in the city. Inspired by the sermons of Reverend Frank Wakely Gunsaulas, a minister at the Plymouth Congregational Church on the South Side, Philip D. Armour Sr. established the Armour Institute in 1886. The school offered vocational training for members of the working class with the goal of developing a skilled workforce that would propel industrial expansion. The school eventually merged with Lewis Institute, a trade school serving immigrant populations, to become the Illinois Institute of Technology (IIT) in 1940. German architect Mies van der Rohe was recruited to head the architecture department of the Armour Institute two years before the merger of the two schools. Along with Ludwig Hilberseimer and Walter Peterhans, colleagues from the German Bauhaus, Mies introduced a modernist design curriculum with a focus on drawing, construction methods, and the careful study of materials. Mies conceived of a comprehensive master plan for the Armour Institute and designed many of the buildings on its campus located in the Bronzeville neighborhood. In 1949, the Institute of Design, the design school founded by László Moholy-Nagy, another Bauhaus émigré, merged with IIT. Beyond its industrial innovations, Armour & Co. helped lay the foundation for an important chapter in Chicago’s design history as a supporter of what would become one of the city’s most storied architecture and design schools. Source A related resource from which the described resource is derived Barrett, James R. Work and Community in the Jungle: Chicago’s Packinghouse Workers, 1894–1922. Urbana: University of Illinois Press, 1987. Brody, David. The Butcher Workmen: A Study of Unionization. Cambridge, Massachusetts: Harvard University Press, 1964. Halpern, Rick. Down on the Killing Floor: Black and White Workers in Chicago’s Packinghouses, 1904–54. Urbana: University of Illinois Press, 1997. Hautzinger, Daniel. “When Chicago Was ‘Hog Butcher to the World.’” WTTW, June 21, 2018. https://interactive.wttw.com/playlist/2018/06/21/union-stock-yards. Hughes, Bob. “A Shelter for Artistic Young Ladies Makes Its Debut in 1912.” Chicago Tribune, March 2, 1986. Janega, James. “Meatpacking.” Chicago Tribune, August 8, 2014. https://www.chicagotribune.com/business/blue-sky/chi-meatpacking-top-chicago -innovations-bsi-series-story.html “Mob of 4,000 Men Charges Police: Most Serious Riot of the Packing House Strike Occurs Near West Stockyard Gates.” Chicago Daily Tribune, August 19, 1904. Pacyga, Dominic A. Slaughterhouse: Chicago’s Union Stock Yard and the World It Made. Chicago: University of Chicago Press, 2018. “Philip D. Armour, Jr., Dead: Younger Son of Chicago’s Millionaire Parker Stricken with Congestion of the Lungs in California.” New York Times, January 28, 1900. Potempa, Philip. “La Lumiere School Includes Armour Meats Connection.” Chicago Tribune, November 10, 2017. “Rejected Armour Meat: So Calvary on the March Had to Do Without It.” New York Times, July 24, 1906. Report of the Commissioner of Agriculture for the Year 1863. Washington: Government Printing Office, 1863. Sandberg, Carl. “Chicago.” Poetry: A Magazine of Verse 3, no. 6 (March 1914): 191. Schulze, Franz. Illinois Institute of Technology: The Campus Guide. New York: Princeton Architectural Press, 2005. Seigel, Jessica. “Meat-Packing Town’s Heyday Has Come and Gone, but Strong Flavor Remains.” Chicago Tribune, July 27, 1990. Skaggs, Jimmy M. Prime Cut: Livestock Raising and Meatpacking in the United States, 1607–1983. College Station: Texas A&M University Press, 1986. University of Wisconsin-Milwaukee. “Armour’s Food Source Map: The Greatness of the United States Is Founded on Agriculture.” American Geographical Society Library Digital Map Collection. https://collections.lib.uwm.edu/digital/collection/agdm/id/1967. University of Wisconsin-Milwaukee. “Nation’s Ever-Growing Food Problem Has Been Met by Packing Industry.” American Geographical Society Library Digital Map Collection. https://collections.lib.uwm.edu/digital/collection/agdm/id/1968. Wade, Louise C. Chicago’s Pride: The Stockyards, Packingtown, and Environs in the 19th Century. Urbana: University of Illinois Press, 1987. Wade, Louise Carroll. “Meatpacking.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/804.html Washington, Jewell. “John Culloton, Chicago.” Chicago Tribune, April 14, 2012. Wisconsin Historical Society. “Armour, Philip Danforth 1832–1901.” Dictionary of Wisconsin History. https://www.wisconsinhistory.org/Records/Article/CS1650. Wisconsin Historical Society. “Historical Essay: Plankinton, John (1820–1891).” https://www.wisconsinhistory.org/Records/Article/CS4410. Winship, A. E. “The Meat Industry.” The Journal of Education 48, no. 1 (1185) (June 30, 1898): 22–24. IIT immigrants labor history Meatpacking industry railroad refrigeration Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Armour Institute/Illinois Institute of Technology (IIT) Description An account of the resource The Illinois Institute of Technology (IIT) is Ph.D.-granting private university in Chicago with programs in engineering, architecture, design, science, human sciences, applied technology, business, and law. One of the largest of its kind in the nation, IIT formed in 1940 with the merging of two technical schools: the Armour Institute, established in 1893 on the South Side by meat-packing industrialist Paul Danforth Armour, Sr. (1832–1901), and the Lewis Institute, a high school and junior college founded in 1895 from the estate of Allen Cleveland Lewis (1821–1877). Sharing complementary pedagogies, the consolidated institutes offered a professional education based on science, engineering, management, and the humanities. Other incorporations followed as IIT expanded the scope of its research and educational programs. The Institute of Design joined IIT in 1949 and the Chicago-Kent College of Law in 1969. Historically characterized by its active relationships with industries and businesses in Chicago, IIT is home to research centers such as the Nation Center for Food Safety and Technology and the IIT Research Institute. The IIT Main Campus is renowned worldwide for its modernist architecture. German-born architect Ludwig Mies van der Rohe (1886–1969) joined IIT as its first Director of Architecture in 1938 after the closure of the Bauhaus in Weimar by the Nazi regime. During his two-decade tenure at IIT, Mies not only reshaped the curriculum, leading to the reputation of IIT as “the New Bauhaus,” he also orchestrated the master plan of the campus. Envisioned by Mies as an icon of modernity, the IIT Main Campus was entirely reconceived and expanded in the 1940s and 1950s. Laid out following a uniform module determining the size and articulation of each building in relation to one another, the IIT campus was designed to embody rationality, clarity, and economy. Mies’s twenty-two buildings for IIT find their stylistic zenith in the aptly named S.R. Crown Hall (1956) which houses the College of Architecture, Planning, and Design. Conceptually groundbreaking, the building is characterized by its innovative exposed steel structure and its clear-span, column-less interior. S.R. Crown Hall received a National Historic Landmark status in 2001. Additionally, the campus features the Galvin Library (1962), Arthur Keating Hall (1966), and Hermann Hall (1961) by Skidmore, Owings & Merrill and the McCormick Tribune Campus Center (2003) by Dutch architect Rem Koolhaas. Source A related resource from which the described resource is derived 50 Years Bauhaus: Additions on the Occasion of the Exhibition at Illinois Institute of Technology in Chicago, Illinois, 1969. Stuttgart: Wüttembergischer Kunstverein, 1969. Applebaum, Wilburn. “Illinois Institute of Technology.” In Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, and Janice L. Reiff, 49. Chicago: University of Chicago Press, 2004. “Armour Gives $1,000,000: Mrs. P.D. Armour Joins Her Son in Gift to the Armour Institute.” New York Times, April 11, 1901. “Armour Institute.” Chicago Daily Tribune, May 29, 1909. Armour Institute of Technology Collection, Special Collections and University Archives, University of Illinois at Chicago. Armour Institute of Technology Grade Books, 1985–1908, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Armour Institute of Technology Records, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Armour War Training Records, 1896–1931, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Beeby, Thomas H. “Toward a Technological Architecture? Case Study of the Illinois Institute of Technology Commons Building.” Perspecta 31 (2000): 10–21. Blaser, Werner. Mies van der Rohe: IIT Campus, Illinois Institute of Technology, Chicago. Basel: Birkhäuser, 2002. Bluestone, Daniel. “Chicago’s Mecca Flat Blues.” Journal of the Society of Architectural Historians 57, no. 4 (1998): 382–403. Channick, Robert. “Oldest Building at IIT Sold, To Be Apartments: Redevelopment Will Have to Clear Historic Hurdles.” Chicago Tribune, February 1, 2017. Domer, Dennis. “Walter Peterhans and Visual Training at Illinois Institute of Technology.” Structurist no. 31–32 (January 1992): 44–51. Eisenman Architects. “Campus Center.” ANY: Architecture New York 24 (January 1999): 38–43. Grubiak, Margaret M. “Educating the Moral Scientist: The Chapels at I.I.T. and M.I.T.” Arris: Journal of the Southeast Chapter of the Society of Architectural Historians 18 (January 2007): 1–14. Hadid, Zaha. “Campus Center.” ANY: Architecture New York 24 (January 1999): 32–37. Harrington, Kevin. “S. R. Crown Hall.” In AIA Guide to Chicago, edited by Alice Sinkevitch, 387–390. Orlando: Harcourt Original, 2004. Henry T. Heald, Armour Institute Dean’s Records, 1920–1930, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Hull, Mary. “The Home: Home—What Is It?” The Interior 26, no. 1295 (March 21, 1895): 407. Jones, Wes. “Mies-takes.” ANY: Architecture New York 24 (January 1999): 36–41. Koolhaas, Rem. “Campus Center.” ANY: Architecture New York 24 (January 1999): 14–19. Lambert, Phyllis. “Mie’s Student Union.” ANY: Architecture New York 24 (January 1999): 52–53. Levin, Miriam R., et. al. Urban Modernity: Cultural Innovation in the Second Industrial Revolution. Cambridge, Massachusetts: MIT Press, 2010. Lewis Institute Records, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Lowrey, Jeannette. “Illinois Institute of Technology.” The Scientific Monthly 65, no. 6 (December 1947): 456–460. Ludwig Mies van der Rohe Collection, Ryerson and Burnham Archives, The Art Institute of Chicago. Macauley, Irene. The Heritage of the Illinois Institute of Technology. Chicago: Illinois Institute of Technology, 1978. Mayer, Harold M. and Wade, Richard C. Chicago: Growth of a Metropolis. Chicago: University of Chicago Press, 1969. Mertins, Detlef. “Design After Mies.” ANY: Architecture New York 24 (January 1999): 14–19. Mitchell, Ed. “This Is Only a Test.” ANY: Architecture New York 24 (January 1999): 28–35. “New Leadership at Illinois Tech.” Chicago Daily Tribune, May 22, 1952. Rice, Charles. “The Atmosphere of Interior Urbanism: OMA at IIT.” Architectural Design 78, no. 3 (May 2008): 88–91. Schulze, Franz. Illinois Institute of Technology: The Campus Guide: An Architectural Tour. New York: Princeton Architectural Press, 2005. Sejima, Kazuyo and Ryue Nishizawa. “Campus Center.” Special issue, ANY: Architecture New York 24 (1999): 26–31. Somol, R.E. “Five Easy Mieses.” ANY: Architecture New York 24 (January 1999): 20–27. Speaks, Michael. “The Singularity of OMA.” ANY: Architecture New York 24 (January 1999): 44–47. “Story of Armour Institute: School Established from Inspiration Contained in Sermon of Dr. Gunsaulus.” Chicago Daily Tribune, January 7, 1901. “The Armour Institute.” Manufacturer and Builder: A Practical Journal of Industrial Progress 25, no. 10 (October 1, 1893): 237. “The Armour Institute.” The Interior 23, no. 1178 (December 22, 1892): 3. Vinci, John. “Mies’ IIT Commons Building and Rem Koolhaas.” Structurist 41–42 (January 2001): 104–208. Bauhaus campus architecture Mies Van Der Rohe schools Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Firms Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Art Directors Club of Chicago Description An account of the resource Perplexingly, apart from a briefarticlethat appeared in the March 1953 issueofPrint magazinesixty-three years ago, littledocumentationexistson the history and activities of the Art DirectorsClub of Chicago(ADCC). The article“European Influences on Chicago Designers,”written by graphic designer and ADCC member George McVicker (1904–1990)for a special Society of Typographical Arts (STA)issue, offersno genealogy of the group. Based on the numbering of the ADCC Annuals, the foundingof the organizationmay be placed at 1932 or 1933, althoughthe “first”annualmay not havecoincided withtheir first year of existence. (For reference, the New York Art DirectorsClubwas founded in 1920.) According to McVicker, inthe fall of 1934, the group sponsoreda course taught by much-admired Viennese designer Joseph Binder, known to ADCC membership through European publications. The well-attendedcourse made an enormous impact on participants, who were unfamiliar with Binder’s approach to stylizing and “abstract symbol” making. However, Binder’s influence was nothingcompared to that of László Moholy-Nagy(1895–1946)—called by McVicker “the real bomb [that] hit town.”1Four years after Binder’s course, Moholy-Nagy was brought to Chicago by the local Association of Art and Industry, which includedthe Container Corporationof America, Montgomery Ward, Marshall Field,and R.R. Donnelley representatives. Moholy-Nagy and his “first lieutenant”Gyorgy Kepes(1906–2001) not only introducednewmethods and design principles butalso acquainted Chicagoans with a vocabulary thatredefined design thinking and designproblems, using phrases such as “articulation of space” and “interpenetration of planes.” McVicker mentions the following namesin his Print article; they arepresumably ADCC members. Their names arepresented here in alphabetical order: <div class="page"> <ul> <li class="textLayer">Franz Altschuler</li> <li class="textLayer">Frank Barr</li> <li class="textLayer">Bruce Beck</li> <li class="textLayer">Francis Chase </li> <li class="textLayer">Burton Cherry</li> <li class="textLayer">DeKovic-Smith Design Organization</li> <li class="textLayer">Gene Douglas</li> <li class="textLayer">Cliffe D. Eitel</li> <li class="textLayer">Stan Ekman</li> <li class="textLayer">William Fleming</li> <li class="textLayer">Fran and Ros Foley</li> <li class="textLayer">Morton Goldsholl</li> <li class="textLayer">M. Martin Johnson</li> <li class="textLayer">Elsa Kula</li> <li class="textLayer">Anne Edwards Lang</li> <li class="textLayer">Dale Maxey</li> <li class="textLayer">Everett McNear</li> <li class="textLayer">Phoebe Moore</li> <li class="textLayer">Dale Nichols</li> <li class="textLayer">Herbert Pinzke</li> <li class="textLayer">Bert Ray</li> <li class="textLayer">Harry B. Smith, Jr.</li> <li class="textLayer">Irving Tittel</li> <li class="textLayer">Harold Walter</li> </ul> </div> Source A related resource from which the described resource is derived McVicker, George. “European Influence on Chicago Designers,”Print:Magazineof the Graphic Arts7,no. 5 (March 1953): 26–33. exhibition venue Fine Arts Building John Vinci Mies Van Der Rohe Rue Shaw Rue Winterbotham Carpenter social club Wrigley Building Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Designers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles Clarence Dawson (1889-1981) Description An account of the resource Charles Clarence Dawson is significant for his many contributions to illustration, design, and fine art during the “Chicago Black Renaissance” of the interwar period and beyond. The “Great Migration,” which refers to the relocation of large numbers of African Americans from rural areas in the South to urban centers in the North, transformed the first half of the twentieth century and impacted Dawson’s arts leadership and design pursuits. The accompanying principles of the “New Negro Movement” marked a flourishing of black philosophic, economic, creative, and political practices in the midst of the repressive Post-Reconstruction and Jim Crow era. Dawson, born in Brunswick, Georgia, in 1889, attended the renowned Tuskegee Institute, a school initially opened for African American teachers led by celebrated educator and orator Booker T. Washington. While there, Dawson studied drafting with architect Walter Thomas Bailey, who was appointed head of the Mechanical Industries Department in 1905 and would later design several of the school’s buildings, including the still-used women’s dormitory, White Hall, as well as significant buildings in Chicago and Memphis. Soon afterwards, in 1907, Dawson relocated to New York to attend the Art Students League as its first black pupil. In 1912, Dawson moved to Chicago, to attend the Art Institute of Chicago. According to his unpublished autobiography, Touching the Fringes of Greatness, Dawson attributes his attendance to the Art Institute’s progressive stance on race, insofar as “the policy of the Art Institute was entirely free of bias.” An active student, Dawson was secretary of the Chicago Architectural League, manager of the Annual Chicago Architectural Exhibition, and member of the Art Students League of Chicago. Upon graduation and at the outset of World War I, in 1917, Dawson joined the segregated armed forces as an officer in training with the Buffalo Soldiers regiment and was sent to France. Dawson’s return to Chicago was framed by the racial conflict between black communities of the South Side and white populations who struggled over jobs and city territory. The Chicago Race Riot of 1919 testifies powerfully to these tensions. At the same time, Chicago’s black population was undergoing newfound power associated with the thriving community of Bronzeville, Chicago’s epicenter of black social life since the early twentieth century. As a freelance illustrator and arts leader Dawson worked with other black artists, such as graphic designer and artist William Farrow, in the organizing of the Chicago Art League (1924), a black artists collective that “offered classes and exhibition opportunities for local artists” and held exhibitions “at the YMCA on Wabash Avenue in Bronzeville.” One of Dawson’s significant accomplishments came in 1927 with the Negro in Art Week exhibition. Dawson contributed as one of three members of the Committee on Fine and Applied Arts, as the designer of the catalog cover, and as a participating artist. The two-part exhibition, initiated by historian Alain Locke with the Chicago Woman’s Club took place from November 18 through 23 at the Art Institute of Chicago and the Chicago Woman’s Clubhouse, both situated downtown. It was organized “with the intention of decreasing friction existing between white and colored people by placing before the public an exhibition of the best work produced by Negroes in Fine and Applied Arts, Music, and Literature, in combination with an exhibition of primitive African Art.” The primitive collection referred to is the Blondiau-Theatre Arts Collection of African Arts from the Belgian Congo, which was included to support the thesis that such unique African heritage made African American art a rival of European art. Dawson conceptualized and illustrated the catalog cover, which not only featured pertinent information regarding the exhibition’s location, time, and duration, but showcased foundational ideals central to the “New Negro,” a term popularized by Locke in his book of the same title that boldly proclaimed the black person as sophisticated and full of self-worth. In Dawson’s illustration an Egyptian pharaoh towers over the silhouettes of various musical performers in tuxedoes linking ancient African motifs to black American culture. In the corner of the composition a Songye power figure invokes the transnational work of forging a new black identity by celebrating an African past. In addition to creating the catalog cover, Dawson contributed several paintings to the exhibition. In 1927 and 1929 Dawson contributed, both general illustrations and the cover illustration, to the Intercollegian Wonder Book and The Book of Achievement the World Over—The Negro in Chicago 1779–1929. The Wonder Books were encyclopedic volumes celebrating the achievements of the black community in Chicago. The series, directed by Frederic H. Hammurabi Robb, the president of the Washington Intercollegiate Club of Chicago at the time, compiled a substantial account of important black leaders, fraternal organizations, churches, schools, and businesses. In the tradition of this type of work, Dawson also self-designed and self-published the children’s book ABC’s of Great Negros (1933). While visiting the George Cleveland Hall Library in Chicago’s Bronzeville neighborhood, Dawson noticed there were no learning materials for black children. The book features twenty-six illustrated biographies of important African American figures, including, Neferti, Frederick Douglas, George Washington Carver, Toussaint l’Ouverture, Zaudita empress of Ethiopia, and Mary L. Bethune, among many others. As the Great Depression gripped the U.S. from the 1930s onward, Dawson maintained a livelihood as one of two black in-house illustrators and designers for Valmor Products Company. Valmor, a Chicago-based cosmetic, beauty supply, and novelties enterprise owned by a white chemist and entrepreneur, produced and marketed a variety of goods to growing black consumer groups. While the pomades and creams coincided with white standards of beauty, including bleaching ointments and hair-straightening tonics, Dawson’s rendering of urbane black sophisticates in minimalist lines and bold shapes had a deep impact on generations of modernist illustrators, artists, and designers of all creeds. A recent exhibition organized in 2015 at the Chicago Cultural Center not only gathered and presented much of Dawson’s work for Valmor, including product labels and advertisement designs, it also assigned authorship to the work which had originally circulated in anonymity. Moreover, the exhibition highlighted the importance of Dawson’s influence beyond the black community, as exampled by the testimony of celebrated contemporary graphic novelist Chris Ware. At the same time, Dawson completed illustrated advertisements for Poro College, an important social hub and educational complex founded by Annie Malone in St. Louis. The school was dedicated to the economic and communal uplift of “Race Women,” a term describing black advocates who sought to improve their conditions and the conditions of other black women through social intervention and education. While Poro College offered deportment, cosmetology, and sales training, it also met the spatial and social needs of a broad and burgeoning black cultural movement, a role far exceeding the general understanding of a beauty school. Among the advertisements Dawson devised, an important series of image and text prints linking modern black people to ancient history and myth stands out. The folio, titled “Famous Black Beauties of History and Mythology,” displays deft illustration skills merged with an interest in redefining blackness as beautiful and important to history. In 1933, amongst much debate regarding the lack of inclusion of black people, Dawson received a commission sponsored by the Urban League to paint a mural within the Social Science Hall for the Century of Progress International Exposition. Also known as the Chicago World’s Fair, the expansive exposition took place on the one-hundred-year anniversary of the founding of Chicago. Dawson’s mural, titled Negro Migration: The Exodus, depicted the Great Migration from rural South to the industrialized North. On each side of the main image were panels filled with “statistics to highlight the social issues of health, housing, and employment and the role of the Urban League in addressing those issues on a national scale.” And while there were “Negro” attractions at the Fair, mostly organized by non-black concessioners, stereotypes were commonplace tools used to pique public interest. The exposition was widely understood by the black community to be “a white man’s proposition.” For the second year of the fair, in 1934, Dawson was commissioned to illustrate and design the poster for a pageant of black music, “O, Sing A New Song,” which highlighted the achievements of African American culture. The poster showcases Dawson’s interest in combining multiple eras. Ancient Egyptian images are mingled with African dancers and drummers, while enslaved folks sing in the fields. At the center of the image is a modern black woman in a 1930s evening gown, her face lifted high. At the bottom of the poster similar women engage in a choreographed dance routine. In the following years, Dawson would participate in another exposition, this one challenging the general racism of the Century of Progress Chicago World’s Fair. The American Negro Exposition, held at the Chicago Coliseum from July 4 through September 2, 1940, gave Dawson a chance to expand his cultural uplifting work into three dimensional dioramas. The exposition, which took place on the seventy-fifth anniversary of the end of the Civil War, was considered the first Negro World's Fair as it gave black people a unique opportunity to represent themselves and their contributions to American life since 1865. Dawson conceptualized and designed a set of thirty-three dioramas marketed as a history of black influence on the progress of America and the world. The dioramas celebrated scenes from ancient Egypt and Africa that showcased important technological and social events, such as, African metal smelting, the use of the wheel by Ethiopians, and the building of the Sphinx. Other noteworthy views included a violent panorama of the first slave market in Virginia (1619), various moments from the Reconstruction era, as well as a depiction of the highly decorated Harlem Hellfighters, an African-American regiment that fought in World War I only to endure continued racism and segregation at home. As a veteran of the segregated armed forces, Dawson experienced this treatment first-hand. Although some were eventually damaged and even lost entirely, the dioramas were gifted to the Tuskegee Institute after the exposition. Dawson, who was beginning his own career at the school, oversaw the repair and installation of the remaining dioramas in their new home at the Museum of Negro Art and Culture at the George Washington Carver Museum where he served as curator from 1944 to 1951. Dawson eventually retired in New Hope, Pennsylvania and passed away in 1981. His archival papers and documents are currently housed at the DuSable Museum of African-American History in Chicago and the Smithsonian Institute in Washington, D.C. Source A related resource from which the described resource is derived Arts & Design in Chicago. “Charles Clarence Dawson.” https://interactive.wttw.com/art-design-chicago/charles-clarence-dawson. Bone, Robert and Richard A. Courage. The Muse of Bronzeville: African-American Creative Expression in Chicago, 1932–1950. Foreword by Amritjit Singh. New Brunswick, New Jersey: Rutgers University Press, 2011. Burkett, Randall K. “Hammurabi in the (MARBL) House.” Emory Libraries & Information Technology. Stuart A. Rose Manuscript, Archives, and Rare Book Library Blog. May 1, 2015. https://scholarblogs.emory.edu/marbl/2015/05/01/hammurabi-in-the-marbl-house/. Charles C. Dawson Papers, Archives of American Art, Smithsonian Institution, Washington, D.C. Charles Dawson Papers, DuSable Museum of African American History, Chicago, Illinois. City of Chicago. “Love for Sale: The Graphic Art of Valmor Products.” 2015. http://www.cityofchicago.org/city/en/depts/dca/supp_info/Valmor.html. Daniel, Jon. “The Pioneering Work of Nine Black Designers.” Design Week, February 26, 2014. Das, Joanna Dee. Katherine Dunham: Dance and the African Diaspora. Oxford: Oxford University Press 2017. “Dawson, Charles Clarence.” In Encyclopedia of the Harlem Renaissance, edited by Aberjhani and Sandra L. West, 83. New York: Facts on File, 2003. Dingwall, Christopher. “Love for Sale: The Graphic Art of Valmor Products, Chicago Cultural Center, April 25–August 2, 2015 (exhibition review).” Design Issues 32, no. 2 (Spring 2016): 95–97. Douglas, Andrea. “An Artist of the Past That You Should Know: Charles Dawson, 1889–1981.” The International Review of African American Art 22, no. 4 (2009): 65. Foster, John. “Love for Sale.” The Design Observer Group, June 12, 2015. http://designobserver.com/feature/love-for-sale/38927/. Ganz, Cheryl R. Progress. The 1933 Chicago World’s Fair: A Century of Progress. Urbana: University of Illinois Press, 2012. Graphic Arts Collection: Rare Books and Special Collections, Firestone Library, Princeton University. “Charles Dawson.” https://graphicarts.princeton.edu/2015/07/10/charles dawson/. Knupfer, Anne Meis. “African-American Designers: The Chicago Experience Then and Now.” Design Issues 16, no. 3 (October 2000): 84–91. Margolin, Victor. “African-American Designers in Chicago: Some Preliminary Findings.” AIGA Journal of Design 18, no. 1 (January 2000): 9–10. Pinder, Kymberly N. Painting the Gospel: Black Public Art and Religion in Chicago. Urbana: University of Illinois Press, 2016. Reynolds, Gary A. Charles Clarence Dawson, 1889–1981. Newark, New Jersey: Newark Museum, 1989. Schulman, David. “Charles Dawson.” AIGA: The Professional Association for Design, September 1, 2008. http://www.aiga.org/design-journeys-charles-dawson/. Schulman, Daniel. “‘White City’ and ‘Black Metropolis’: African-American Painters in Chicago, 1893–1945.” In Chicago Modern, 1893–1945: Pursuit of the New, edited by Elizabeth Kennedy. Chicago: Terra Museum of American Art, 2004. The Newberry Library. “Chicago 1919: Confronting the Race Riots.” https://publications.newberry.org/chicago1919/. West, Sandra L. “Dawson, Charles Clarence (1889–1981), Painter.” In Encyclopedia of the Harlem Renaissance, edited by Aberjhani and Sandra L. West, 83. New York: Checkmark Books, 2003. “William McKnight Farrow.” In Harlem Renaissance Lives from the African American National Biography, edited by Gates, Jr., Henry Louis and Evelyn Brooks Higginbotham, 192–93. Oxford: Oxford University Press, 2009. A Century of Progress American Negro Exposition Black designers Buffalo Soldiers Charles Clarence Dawson Chicago Art League dioramas illustrator Poro College the New Negro Tuskegee Institute Valmor Products