{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026page=100","prev":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026page=99","next":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026page=101","last":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026page=110"},"meta":{"pages":{"current_page":100,"next_page":101,"prev_page":99,"total_pages":110,"limit_value":10,"offset_value":990,"total_count":1097,"first_page?":false,"last_page?":false}},"data":[{"id":"vino_repositories_5_resources_19_c01_c01_c12","type":"Subgroup","attributes":{"title":"Unknown Project Location/Multiple Project Locations/Miscellaneous","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vino_repositories_5_resources_19_c01_c01_c12#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_5_resources_19_c01_c01_c12","ref_ssm":["vino_repositories_5_resources_19_c01_c01_c12"],"id":"vino_repositories_5_resources_19_c01_c01_c12","ead_ssi":"vino_repositories_5_resources_19","_root_":"vino_repositories_5_resources_19","_nest_parent_":"vino_repositories_5_resources_19_c01_c01","parent_ssi":"vino_repositories_5_resources_19_c01_c01","parent_ssim":["vino_repositories_5_resources_19","vino_repositories_5_resources_19_c01","vino_repositories_5_resources_19_c01_c01"],"parent_ids_ssim":["vino_repositories_5_resources_19","vino_repositories_5_resources_19_c01","vino_repositories_5_resources_19_c01_c01"],"parent_unittitles_ssm":["Edward G. Carson Papers","Series I: Non-Residential","Sub-Series A: Government Non-Residential"],"parent_unittitles_tesim":["Edward G. Carson Papers","Series I: Non-Residential","Sub-Series A: Government Non-Residential"],"text":["Edward G. Carson Papers","Series I: Non-Residential","Sub-Series A: Government Non-Residential","Unknown Project Location/Multiple Project Locations/Miscellaneous"],"title_filing_ssi":"Unknown Project Location/Multiple Project Locations/Miscellaneous","title_ssm":["Unknown Project Location/Multiple Project Locations/Miscellaneous"],"title_tesim":["Unknown Project Location/Multiple Project Locations/Miscellaneous"],"unitdate_other_ssim":["1998, undated"],"normalized_date_ssm":["1998"],"normalized_title_ssm":["Unknown Project Location/Multiple Project Locations/Miscellaneous"],"component_level_isim":[3],"repository_ssim":["Old Dominion University"],"collection_ssim":["Edward G. Carson Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":6,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":97,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1998],"_nest_path_":"/components#0/components#0/components#11","timestamp":"2026-05-20T20:04:39.789Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_5_resources_19","ead_ssi":"vino_repositories_5_resources_19","_root_":"vino_repositories_5_resources_19","_nest_parent_":"vino_repositories_5_resources_19","ead_source_url_ssi":"data/oai/ODU/repositories_5_resources_19.xml","aspace_url_ssi":"https://archivesguides.lib.odu.edu/repositories/5/resources/19","title_filing_ssi":"Carson, Edward G.","title_ssm":["Edward G. Carson Papers"],"title_tesim":["Edward G. Carson Papers"],"unitdate_ssm":["1924-2004, undated","1970-2000","Date acquired: 10/12/2007"],"unitdate_bulk_ssim":["1970-2000"],"unitdate_inclusive_ssm":["1924-2004, undated"],"unitdate_other_ssim":["Date acquired: 10/12/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MG 87","/repositories/5/resources/19"],"text":["MG 87","/repositories/5/resources/19","Edward G. Carson Papers","Landscape architecture","Landscape architects--United States","Artists--United States","Open to researchers without restrictions.","The collection is arranged into two series: Series I: Non-Residentiall, and Series II: Residential.","Edward G. Carson was born in Fayetteville, West Virginia on May 21, 1920.  His parents were Rev. John Harry Carson, a Methodist minister, and Rebekah Nevitt Carson. Mr. Carson was a student of engineering at Asbury College, California Polytechnic, University of West Virginia, and George Washington University.  He graduated from American Landscape School, Des Moines, Iowa.  He pursued the study of visual arts, including sculpture, at Norfolk State University, University of Hawaii, and National Art School.","During World War II, Mr. Carson joined the U.S. Navy, working as a surveyor and cartographer with radar siting and calibration unit.  He also served as a U.S. Navy aviation cadet. About 1945 Carson was employed with the State Road Commission of West Virginia and the Coastal and Geodetic Survey technical and research division.  He worked in developing route location studies, field surveys, and designs for roads and airports.  He was also involved in the development and computation of projections for topographical maps and aeronautical charts.  He was employed by Standard Homes Company to design and develop site plans for residential projects.  About 1951, Carson became associated with Mills, Petticord and Mills, an architectural firm located in Washington D.C.  In 1957, he set up the Norfolk branch of this firm, where he was responsible for residential development and military reservation master planning.  He was also responsible for site and landscape planning.  In January of 1964, Carson began his own firm, Carson and Associates, in Norfolk, Virginia.  His firm designed various regional projects over the many years of its existence.   ","During the 1960s and 1970s, Carson became involved in the local Hampton Roads art community.  He regularly exhibited his artwork at the Virginia Beach Boardwalk Art Show beginning in 1963 until 2000.  He rented a studio at the D'Art Center in Norfolk from 1986 until about 1995. Carson was the winner of 150 awards related to his artwork, including an award in 1963 from the Virginia Beach Boardwalk Art Show.  His work was exhibited in the Smithsonian's Traveling Art Show, and some of his pieces were purchased by McGraw Hill.","Mr. Carson was a member of numerous organizations including American Society of Landscape Architects, the American Congress of Surveying and Mapping, the Society of American Military Engineers, the American Horticultural Society, the Civitan Club of Norfolk, the Torch Club of Norfolk, and the Norfolk Chamber of Commerce. He served as director in 1963 and president in 1971 of the Engineers Club of Hampton Roads.  Carson was appointed to the City of Norfolk's Design Review Committee in 1983, where he became a Vice Chairman.  He became Chairman of the Design Review Committee from 2000 until 2003.  During his service in the Design Review Committee, Carson participated in the review of designs for numerous projects for the City, including the Harrison Opera House, Nauticus, MacArthur Center, and the Norfolk Chamber of Commerce.  On May 13, 2003, Norfolk City Council presented a resolution recognizing Carson's many years of service on the Design Review Committee.","Mr. Carson was married to Lily Vlasis Carson at his passing on March 3, 2004.  He was buried at St. Mary's Catholic Cemetery on March 6, 2004.","Note written by Special Collections Staff","The bulk of the collection contains large, hand-drawn plans, renderings, photographs, or reproductions of landscape projects developed by Edward C. Carson and his company in Hampton Roads, Richmond, Washington, DC, Italy and Puerto Rico. Some drawings, such as infrastructure or subdivision plans, are not the direct work of Carson, however were essential to his work as a landscape architect and have been retained in the collection. The collection also contains photographs and written descriptions of landscape designs.","This series contains plans, renderings, photographs, and reproductions of non–residential projects for which Carson was either a contributor or a principal architect.","This sub-series contains plans, renderings, photographs and reproductions of non-residential projects for government agencies. The sub-series is arranged in alphabetical order by project location.","People and lawn maintenance in field","Surveyors in field","Length 2.89 miles. Abbot \u0026 Associates. and Carson. Print PROJ I-195-6(1)82,  I-195-6(1)84 - submittal set – Sheets 1, 2, 5, 6, 7, 8, 15, of 21, Sheet 2 Plant List and Notes [bound]","[8 X 10 color photo] located near bldgs. 711 Police Headquarters, 701 Jail - possibly City Hall Square","8 X 10 color photo, possibly City Hall Square","[8 1/2 X 11 B\u0026W print] possibly preliminary layout/rendering","[8 X 10 color photo]","[8 X 10 color photo]","This sub-series contains plans, renderings, photographs and reproductions of non-residential projects for private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.","This series contains plans, renderings, photographs, and reproductions of residential projects for which Carson was either a contributor or a principal architect.","This sub-series contains plans, renderings and reproductions of residential projects for government agencies. The sub-series is arranged alphabetically by project location.","Commonwealth of VA Dept. of Mental Health and Mental Retardation, Richmond, VA [text only]","This sub-series contains plans, renderings and reproductions of multi-family residential projects for were private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.","Recreation Complex design and rendering by Carson \u0026 Assoc. [rendering original]","Abbot \u0026 Assoc. and Carson, Commonwealth of VA Dept. of Highways","First floor of four bedroom unit plan","Second floor of four bedroom unit plan","This sub-series contains plans, renderings, and reproductions of residential projects for private individuals. The sub-series is arranged in alphabetical order by project location.","This series contains a drawing by Edward G. Carson entitled the \"Torso Tree.\"","Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.","Norfolk landscape architect and artist. Designed landscapes for buildings ranging from Webb Center to the bowling alley at a US Air Force base in Italy. The collection includes approximately three hundred oversized landscape plans, as well as a small number of photographs and written descriptions of landscape designs.","ODU Community Collections","Carson, Edward G. (1920–2004)","English"],"unitid_tesim":["MG 87","/repositories/5/resources/19"],"normalized_title_ssm":["Edward G. Carson Papers"],"collection_title_tesim":["Edward G. Carson Papers"],"collection_ssim":["Edward G. Carson Papers"],"repository_ssm":["Old Dominion University"],"repository_ssim":["Old Dominion University"],"creator_ssm":["Carson, Edward G. (1920–2004)"],"creator_ssim":["Carson, Edward G. (1920–2004)"],"creator_persname_ssim":["Carson, Edward G. (1920–2004)"],"creators_ssim":["Carson, Edward G. (1920–2004)"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"acqinfo_ssim":["Lily Vlasis Carson","Gift. Accession # A2007-1."],"access_subjects_ssim":["Landscape architecture","Landscape architects--United States","Artists--United States"],"access_subjects_ssm":["Landscape architecture","Landscape architects--United States","Artists--United States"],"has_online_content_ssim":["false"],"extent_ssm":["17.20 Linear Feet","One Hollinger document case, four archival tubes. boxes"],"extent_tesim":["17.20 Linear Feet","One Hollinger document case, four archival tubes. boxes"],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2007],"accessrestrict_html_tesm":["\u003cp\u003eOpen to researchers without restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Open to researchers without restrictions."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series: Series I: Non-Residentiall, and Series II: Residential.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement Note"],"arrangement_tesim":["The collection is arranged into two series: Series I: Non-Residentiall, and Series II: Residential."],"bioghist_html_tesm":["\u003cp\u003eEdward G. Carson was born in Fayetteville, West Virginia on May 21, 1920.  His parents were Rev. John Harry Carson, a Methodist minister, and Rebekah Nevitt Carson. Mr. Carson was a student of engineering at Asbury College, California Polytechnic, University of West Virginia, and George Washington University.  He graduated from American Landscape School, Des Moines, Iowa.  He pursued the study of visual arts, including sculpture, at Norfolk State University, University of Hawaii, and National Art School.\u003c/p\u003e\n","\u003cp\u003eDuring World War II, Mr. Carson joined the U.S. Navy, working as a surveyor and cartographer with radar siting and calibration unit.  He also served as a U.S. Navy aviation cadet. About 1945 Carson was employed with the State Road Commission of West Virginia and the Coastal and Geodetic Survey technical and research division.  He worked in developing route location studies, field surveys, and designs for roads and airports.  He was also involved in the development and computation of projections for topographical maps and aeronautical charts.  He was employed by Standard Homes Company to design and develop site plans for residential projects.  About 1951, Carson became associated with Mills, Petticord and Mills, an architectural firm located in Washington D.C.  In 1957, he set up the Norfolk branch of this firm, where he was responsible for residential development and military reservation master planning.  He was also responsible for site and landscape planning.  In January of 1964, Carson began his own firm, Carson and Associates, in Norfolk, Virginia.  His firm designed various regional projects over the many years of its existence.   \u003c/p\u003e\n","\u003cp\u003eDuring the 1960s and 1970s, Carson became involved in the local Hampton Roads art community.  He regularly exhibited his artwork at the Virginia Beach Boardwalk Art Show beginning in 1963 until 2000.  He rented a studio at the D'Art Center in Norfolk from 1986 until about 1995. Carson was the winner of 150 awards related to his artwork, including an award in 1963 from the Virginia Beach Boardwalk Art Show.  His work was exhibited in the Smithsonian's Traveling Art Show, and some of his pieces were purchased by McGraw Hill.\u003c/p\u003e\n","\u003cp\u003eMr. Carson was a member of numerous organizations including American Society of Landscape Architects, the American Congress of Surveying and Mapping, the Society of American Military Engineers, the American Horticultural Society, the Civitan Club of Norfolk, the Torch Club of Norfolk, and the Norfolk Chamber of Commerce. He served as director in 1963 and president in 1971 of the Engineers Club of Hampton Roads.  Carson was appointed to the City of Norfolk's Design Review Committee in 1983, where he became a Vice Chairman.  He became Chairman of the Design Review Committee from 2000 until 2003.  During his service in the Design Review Committee, Carson participated in the review of designs for numerous projects for the City, including the Harrison Opera House, Nauticus, MacArthur Center, and the Norfolk Chamber of Commerce.  On May 13, 2003, Norfolk City Council presented a resolution recognizing Carson's many years of service on the Design Review Committee.\u003c/p\u003e\n","\u003cp\u003eMr. Carson was married to Lily Vlasis Carson at his passing on March 3, 2004.  He was buried at St. Mary's Catholic Cemetery on March 6, 2004.\u003c/p\u003e\n","\u003cp\u003eNote written by Special Collections Staff\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["Edward G. Carson was born in Fayetteville, West Virginia on May 21, 1920.  His parents were Rev. John Harry Carson, a Methodist minister, and Rebekah Nevitt Carson. Mr. Carson was a student of engineering at Asbury College, California Polytechnic, University of West Virginia, and George Washington University.  He graduated from American Landscape School, Des Moines, Iowa.  He pursued the study of visual arts, including sculpture, at Norfolk State University, University of Hawaii, and National Art School.","During World War II, Mr. Carson joined the U.S. Navy, working as a surveyor and cartographer with radar siting and calibration unit.  He also served as a U.S. Navy aviation cadet. About 1945 Carson was employed with the State Road Commission of West Virginia and the Coastal and Geodetic Survey technical and research division.  He worked in developing route location studies, field surveys, and designs for roads and airports.  He was also involved in the development and computation of projections for topographical maps and aeronautical charts.  He was employed by Standard Homes Company to design and develop site plans for residential projects.  About 1951, Carson became associated with Mills, Petticord and Mills, an architectural firm located in Washington D.C.  In 1957, he set up the Norfolk branch of this firm, where he was responsible for residential development and military reservation master planning.  He was also responsible for site and landscape planning.  In January of 1964, Carson began his own firm, Carson and Associates, in Norfolk, Virginia.  His firm designed various regional projects over the many years of its existence.   ","During the 1960s and 1970s, Carson became involved in the local Hampton Roads art community.  He regularly exhibited his artwork at the Virginia Beach Boardwalk Art Show beginning in 1963 until 2000.  He rented a studio at the D'Art Center in Norfolk from 1986 until about 1995. Carson was the winner of 150 awards related to his artwork, including an award in 1963 from the Virginia Beach Boardwalk Art Show.  His work was exhibited in the Smithsonian's Traveling Art Show, and some of his pieces were purchased by McGraw Hill.","Mr. Carson was a member of numerous organizations including American Society of Landscape Architects, the American Congress of Surveying and Mapping, the Society of American Military Engineers, the American Horticultural Society, the Civitan Club of Norfolk, the Torch Club of Norfolk, and the Norfolk Chamber of Commerce. He served as director in 1963 and president in 1971 of the Engineers Club of Hampton Roads.  Carson was appointed to the City of Norfolk's Design Review Committee in 1983, where he became a Vice Chairman.  He became Chairman of the Design Review Committee from 2000 until 2003.  During his service in the Design Review Committee, Carson participated in the review of designs for numerous projects for the City, including the Harrison Opera House, Nauticus, MacArthur Center, and the Norfolk Chamber of Commerce.  On May 13, 2003, Norfolk City Council presented a resolution recognizing Carson's many years of service on the Design Review Committee.","Mr. Carson was married to Lily Vlasis Carson at his passing on March 3, 2004.  He was buried at St. Mary's Catholic Cemetery on March 6, 2004.","Note written by Special Collections Staff"],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Box [insert number], Folder [insert number and title], Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eDulles Airport Access Road, Herndon, VA Site Plan, undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eDulles Airport Toll Road, Fairfax County, VA - Detail of Site Plan  [Soundwall], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eDulles Airport Toll Road, Fairfax County, VA - Detail of Site Plan [Vista], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eRendering - Interstate Route 195 - Landscaped Interchange View Northwest Toward Cary St. Bridge, undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eDulles Airport Toll Road, Fairfax County, VA – Region 2 Including Plant List [Part of Cloverleaf], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eConceptual Master Plan the Old Cape Henry Light House-The Association for the Preservation of Virginia Antiquities, 1991 August, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eOld Cape Henry Light House: Black and White Overview Site Plan, 1991 August, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e8 1/2 X 11 Landscape Master Plan - Sheet 1 of 7 for Washington Blvd. Drawn by: KEW Checked by: EGC, 1974 January 1, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eWashington Blvd.: PROJ 73-716 Dept. of Army, Norfolk District Army Corps of Engineers Norfolk District File FE 630-1.1, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e8 1/2 X 11 Landscape Plan for Washington Blvd.-Hines Circle Area United States Army Transportation Center, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e8 1/2 X 11 Landscape Plan for Washington Blvd.-Transportation Museum Area, United States Army Transportation Center [Rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eWashington Blvd.: 8 1/2 X 11 Master Plan Future Development Plans - General Site Plan (Main Post Area) Sheet 1 of 3 DWG 18-04-12 Drawn by: EGC, Norfolk District Army Corps of Engineers, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eLandscape Plan for Washington Blvd., Taylor Ave. Intersection [rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eLandscape Plan for Washington Blvd. Transportation Museum Area US Army Transportation Center, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eLandscape Plan for Washington Blvd., Hines Circle [Rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan – Sheet 2 of 2 [Print], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan – Sheet 2 of 2 [Original Transparency], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan [Including Museum Building] [Original], undated, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan Deer Park Lake and Entry Road [Original], undated, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan – Sheet 1 of 2 [Print], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eVirginia Living Museum: Master Plan – Sheet 1 of 2 [Original Transparency], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eOcean View Amusement Park and Chesapeake Bay House: Investments Inc. and the City of Norfolk at Ocean View 70A, 70B Map Book 6, undated, Poster Tube 3, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eOcean View Amusement Park [1 Marked Print, 1 Unmarked Print], 1960 December, Poster Tube 3, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eDesign Concept - Central Park, Petersburg, VA [Color Overview], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eMain Plaza, Central Park [Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eAmphitheatre, Central Park [Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCentral Park [Color Photo of Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePoplar Lawn Park: Site Plans [Color Print], undated, Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eMaster Plan for Poplar Lawn Park, undated, Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eGolf Course Feasibility Study, Site Plan - Naval Station, Norfolk, VA, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, VA: Raised White Circular Planters in Front of Building [8 x 10 Color Photo] Possibly City Hall Square, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, VA: Square White Concrete Planters, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, VA: Possibly View From Under Overhang of Police HQ Looking Across Water to Norfolk, Virginia, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: Side of Building, Raised White Circular Concrete Planters, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: Civic Center, City of Portsmouth, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: Courtyard of Building From Ground-Level with Students, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: Photo by Jeff Goldberg / Esto Photographics-Courtyard of Building From Second Floor, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: HBA Architects Transmittal for 3 JHS Photographs Color CAD/Computer Rendering of Building, 1998 April 7, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: 8 1/2 X 11 Elevation Exterior of Building [Rear?], undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: 8 1/2 X 11 Elevation Front Exterior of Building, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: 8 1/2 X 11 Elevation Exterior of Building Bird's Eye View, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePortsmouth, Virginia: 8 1/2 X 11 Elevation Exterior Sides of Building, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 6, Washington, D.C., 2003-2004, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003ePentagon Station Plaza, Washington Metropolitan Area Transit Authority, Huntington Route [Elevation Rendering], Washington, D.C., Box 1, Folder 6, Washington, D.C., 2003-2004, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eOld Dominion University: Conceptual Master Plan Landscape Improvements - Webb Center, 1992 June, Poster Tube 2, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eBroad Bay Country Club: Site Plan [Original Transparency], 1986 October, Poster Tube 2, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eColombia Plaza Preliminary Layout/Site Plan [Print], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eColombia Plaza, Washington DC [8 X 10 Black and White Photo of Rendering], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eColombia Plaza, Washington DC [8 1/2 X 11 Black and White Copy of Rendering], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eSite Development Plan - Southeastern Virginia Training Center for the Mentally Retarded, undated, Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCentral Development Play Area - Southeastern Virginia Training Center for the Mentally Retarded, undated, Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Text Description of Project - Featured Article - Home Building Ideas, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Award of Excellence in Residential Design Issued by ASLA, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Site Plan courtyard [8 1/2 X 11], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Landscape Design Scheme [8 X 10 Color Photo of Rendering], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Stepping Stones [8 X 10 Color Photo], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Site and Landscape Details, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eCharles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Descriptive Text - Basis of Design, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e\"Plans to Mrs. Lawrence Cox\"-Several German Maps, undated, Poster Tube 4, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: View of Pool, Gazebo and River From Trees [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Gazebo From the Far Side of the Pool [8 X 12 Close-Up Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: View of Deck and River [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Corner of the Pool [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Tidewater Chapter of the Virginia Society of the American Institutes of Architects Presents Excellence in Design Award to Edward G. Carson and Associates for the Pool Complex for Dr. and Mrs. Harry C. Plunkett, 1982, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Color Article re. Plunkett Pool, Pages 114, 115, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Gazebo [8 X 10 Close-Up Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Gazebo, Pool, River [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Deck Vantage From Gazebo Looking at the House [7 1/2 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Vantage From River of Gazebo [8 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite Corner of the Pool [8 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite Corner of the Pool [8 X 12 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Gazebo Looking From Behind Trees [8 X 12 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Submission Form for Gardenscapes, Pages 1 and 2, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Copies of Photos Submitted, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Photographic Release to Submission - Signed, 1996 August 19, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Plunkett Residence Attachment Kurume Type [Plant List], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eHarry C. Plunkett Residence: Residence Owner's Release - Signed by Plunketts, 1996 August 9, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003e[Identification of item and date], Series III, Oversize Folder 1, Oversize Folder 1, 1969, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e","\u003cp\u003eTorso Tree Sketch, 1969, Oversize Folder 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Box [insert number], Folder [insert number and title], Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Dulles Airport Access Road, Herndon, VA Site Plan, undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Dulles Airport Toll Road, Fairfax County, VA - Detail of Site Plan  [Soundwall], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Dulles Airport Toll Road, Fairfax County, VA - Detail of Site Plan [Vista], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Rendering - Interstate Route 195 - Landscaped Interchange View Northwest Toward Cary St. Bridge, undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Dulles Airport Toll Road, Fairfax County, VA – Region 2 Including Plant List [Part of Cloverleaf], undated, Box 1, Folder 1, Fairfax, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Conceptual Master Plan the Old Cape Henry Light House-The Association for the Preservation of Virginia Antiquities, 1991 August, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Old Cape Henry Light House: Black and White Overview Site Plan, 1991 August, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","8 1/2 X 11 Landscape Master Plan - Sheet 1 of 7 for Washington Blvd. Drawn by: KEW Checked by: EGC, 1974 January 1, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Washington Blvd.: PROJ 73-716 Dept. of Army, Norfolk District Army Corps of Engineers Norfolk District File FE 630-1.1, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","8 1/2 X 11 Landscape Plan for Washington Blvd.-Hines Circle Area United States Army Transportation Center, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","8 1/2 X 11 Landscape Plan for Washington Blvd.-Transportation Museum Area, United States Army Transportation Center [Rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Washington Blvd.: 8 1/2 X 11 Master Plan Future Development Plans - General Site Plan (Main Post Area) Sheet 1 of 3 DWG 18-04-12 Drawn by: EGC, Norfolk District Army Corps of Engineers, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Landscape Plan for Washington Blvd., Taylor Ave. Intersection [rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Landscape Plan for Washington Blvd. Transportation Museum Area US Army Transportation Center, 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Landscape Plan for Washington Blvd., Hines Circle [Rendering], 1974 January 21, Box 1, Folder 2, Fort Eustis, 1974, 1991, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan – Sheet 2 of 2 [Print], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan – Sheet 2 of 2 [Original Transparency], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan [Including Museum Building] [Original], undated, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan Deer Park Lake and Entry Road [Original], undated, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan – Sheet 1 of 2 [Print], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Virginia Living Museum: Master Plan – Sheet 1 of 2 [Original Transparency], 1985 June 13, Poster Tube 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Ocean View Amusement Park and Chesapeake Bay House: Investments Inc. and the City of Norfolk at Ocean View 70A, 70B Map Book 6, undated, Poster Tube 3, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Ocean View Amusement Park [1 Marked Print, 1 Unmarked Print], 1960 December, Poster Tube 3, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Design Concept - Central Park, Petersburg, VA [Color Overview], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Main Plaza, Central Park [Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Amphitheatre, Central Park [Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Central Park [Color Photo of Rendering], undated, Box 1, Folder 3, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Poplar Lawn Park: Site Plans [Color Print], undated, Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Master Plan for Poplar Lawn Park, undated, Box 1, Folder 4, Petersburg, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Golf Course Feasibility Study, Site Plan - Naval Station, Norfolk, VA, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, VA: Raised White Circular Planters in Front of Building [8 x 10 Color Photo] Possibly City Hall Square, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, VA: Square White Concrete Planters, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, VA: Possibly View From Under Overhang of Police HQ Looking Across Water to Norfolk, Virginia, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: Side of Building, Raised White Circular Concrete Planters, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: Civic Center, City of Portsmouth, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: Courtyard of Building From Ground-Level with Students, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: Photo by Jeff Goldberg / Esto Photographics-Courtyard of Building From Second Floor, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: HBA Architects Transmittal for 3 JHS Photographs Color CAD/Computer Rendering of Building, 1998 April 7, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: 8 1/2 X 11 Elevation Exterior of Building [Rear?], undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: 8 1/2 X 11 Elevation Front Exterior of Building, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: 8 1/2 X 11 Elevation Exterior of Building Bird's Eye View, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Portsmouth, Virginia: 8 1/2 X 11 Elevation Exterior Sides of Building, undated, Box 1, Folder 5, Unknown Project Location/Multiple Project Location/Miscellaneous, 1998, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 6, Washington, D.C., 2003-2004, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Pentagon Station Plaza, Washington Metropolitan Area Transit Authority, Huntington Route [Elevation Rendering], Washington, D.C., Box 1, Folder 6, Washington, D.C., 2003-2004, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Old Dominion University: Conceptual Master Plan Landscape Improvements - Webb Center, 1992 June, Poster Tube 2, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Broad Bay Country Club: Site Plan [Original Transparency], 1986 October, Poster Tube 2, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Colombia Plaza Preliminary Layout/Site Plan [Print], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Colombia Plaza, Washington DC [8 X 10 Black and White Photo of Rendering], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Colombia Plaza, Washington DC [8 1/2 X 11 Black and White Copy of Rendering], undated, Box 1, Folder 7, Washington, D.C., undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Site Development Plan - Southeastern Virginia Training Center for the Mentally Retarded, undated, Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Central Development Play Area - Southeastern Virginia Training Center for the Mentally Retarded, undated, Box 1, Folder 8, Chesapeake, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Text Description of Project - Featured Article - Home Building Ideas, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Award of Excellence in Residential Design Issued by ASLA, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Site Plan courtyard [8 1/2 X 11], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Landscape Design Scheme [8 X 10 Color Photo of Rendering], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Stepping Stones [8 X 10 Color Photo], undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Site and Landscape Details, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Charles and Phyllis Winslow Residence - 4901 Woodbury at 49th St.: Descriptive Text - Basis of Design, undated, Box 1, Folder 9, Norfolk, Virginia, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","\"Plans to Mrs. Lawrence Cox\"-Several German Maps, undated, Poster Tube 4, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: View of Pool, Gazebo and River From Trees [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Gazebo From the Far Side of the Pool [8 X 12 Close-Up Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: View of Deck and River [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Corner of the Pool [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Tidewater Chapter of the Virginia Society of the American Institutes of Architects Presents Excellence in Design Award to Edward G. Carson and Associates for the Pool Complex for Dr. and Mrs. Harry C. Plunkett, 1982, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Color Article re. Plunkett Pool, Pages 114, 115, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Gazebo [8 X 10 Close-Up Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Gazebo, Pool, River [8 X 10 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Deck Vantage From Gazebo Looking at the House [7 1/2 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Vantage From River of Gazebo [8 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite Corner of the Pool [8 X 10 Black and White Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Swimming Pool, Gazebo, River From Opposite Corner of the Pool [8 X 12 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Gazebo Looking From Behind Trees [8 X 12 Color Photo], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Submission Form for Gardenscapes, Pages 1 and 2, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Copies of Photos Submitted, undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Photographic Release to Submission - Signed, 1996 August 19, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Plunkett Residence Attachment Kurume Type [Plant List], undated, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Harry C. Plunkett Residence: Residence Owner's Release - Signed by Plunketts, 1996 August 9, Box 1, Folder 10, Virginia Beach, Virginia, 1986, undated, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","[Identification of item and date], Series III, Oversize Folder 1, Oversize Folder 1, 1969, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries.","Torso Tree Sketch, 1969, Oversize Folder 1, Edward G. Carson Papers, Special Collections and University Archives, Old Dominion University Libraries."],"scopecontent_html_tesm":["\u003cp\u003eThe bulk of the collection contains large, hand-drawn plans, renderings, photographs, or reproductions of landscape projects developed by Edward C. Carson and his company in Hampton Roads, Richmond, Washington, DC, Italy and Puerto Rico. Some drawings, such as infrastructure or subdivision plans, are not the direct work of Carson, however were essential to his work as a landscape architect and have been retained in the collection. The collection also contains photographs and written descriptions of landscape designs.\u003c/p\u003e","\u003cp\u003eThis series contains plans, renderings, photographs, and reproductions of non–residential projects for which Carson was either a contributor or a principal architect.\u003c/p\u003e","\u003cp\u003eThis sub-series contains plans, renderings, photographs and reproductions of non-residential projects for government agencies. The sub-series is arranged in alphabetical order by project location.\u003c/p\u003e","\u003cp\u003ePeople and lawn maintenance in field\u003c/p\u003e","\u003cp\u003eSurveyors in field\u003c/p\u003e","\u003cp\u003eLength 2.89 miles. Abbot \u0026amp; Associates. and Carson. Print PROJ I-195-6(1)82,  I-195-6(1)84 - submittal set – Sheets 1, 2, 5, 6, 7, 8, 15, of 21, Sheet 2 Plant List and Notes [bound]\u003c/p\u003e","\u003cp\u003e[8 X 10 color photo] located near bldgs. 711 Police Headquarters, 701 Jail - possibly City Hall Square\u003c/p\u003e","\u003cp\u003e8 X 10 color photo, possibly City Hall Square\u003c/p\u003e","\u003cp\u003e[8 1/2 X 11 B\u0026amp;W print] possibly preliminary layout/rendering\u003c/p\u003e","\u003cp\u003e[8 X 10 color photo]\u003c/p\u003e","\u003cp\u003e[8 X 10 color photo]\u003c/p\u003e","\u003cp\u003eThis sub-series contains plans, renderings, photographs and reproductions of non-residential projects for private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.\u003c/p\u003e","\u003cp\u003eThis series contains plans, renderings, photographs, and reproductions of residential projects for which Carson was either a contributor or a principal architect.\u003c/p\u003e","\u003cp\u003eThis sub-series contains plans, renderings and reproductions of residential projects for government agencies. The sub-series is arranged alphabetically by project location.\u003c/p\u003e","\u003cp\u003eCommonwealth of VA Dept. of Mental Health and Mental Retardation, Richmond, VA [text only]\u003c/p\u003e","\u003cp\u003eThis sub-series contains plans, renderings and reproductions of multi-family residential projects for were private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.\u003c/p\u003e","\u003cp\u003eRecreation Complex design and rendering by Carson \u0026amp; Assoc. [rendering original]\u003c/p\u003e","\u003cp\u003eAbbot \u0026amp; Assoc. and Carson, Commonwealth of VA Dept. of Highways\u003c/p\u003e","\u003cp\u003eFirst floor of four bedroom unit plan\u003c/p\u003e","\u003cp\u003eSecond floor of four bedroom unit plan\u003c/p\u003e","\u003cp\u003eThis sub-series contains plans, renderings, and reproductions of residential projects for private individuals. The sub-series is arranged in alphabetical order by project location.\u003c/p\u003e","\u003cp\u003eThis series contains a drawing by Edward G. Carson entitled the \"Torso Tree.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The bulk of the collection contains large, hand-drawn plans, renderings, photographs, or reproductions of landscape projects developed by Edward C. Carson and his company in Hampton Roads, Richmond, Washington, DC, Italy and Puerto Rico. Some drawings, such as infrastructure or subdivision plans, are not the direct work of Carson, however were essential to his work as a landscape architect and have been retained in the collection. The collection also contains photographs and written descriptions of landscape designs.","This series contains plans, renderings, photographs, and reproductions of non–residential projects for which Carson was either a contributor or a principal architect.","This sub-series contains plans, renderings, photographs and reproductions of non-residential projects for government agencies. The sub-series is arranged in alphabetical order by project location.","People and lawn maintenance in field","Surveyors in field","Length 2.89 miles. Abbot \u0026 Associates. and Carson. Print PROJ I-195-6(1)82,  I-195-6(1)84 - submittal set – Sheets 1, 2, 5, 6, 7, 8, 15, of 21, Sheet 2 Plant List and Notes [bound]","[8 X 10 color photo] located near bldgs. 711 Police Headquarters, 701 Jail - possibly City Hall Square","8 X 10 color photo, possibly City Hall Square","[8 1/2 X 11 B\u0026W print] possibly preliminary layout/rendering","[8 X 10 color photo]","[8 X 10 color photo]","This sub-series contains plans, renderings, photographs and reproductions of non-residential projects for private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.","This series contains plans, renderings, photographs, and reproductions of residential projects for which Carson was either a contributor or a principal architect.","This sub-series contains plans, renderings and reproductions of residential projects for government agencies. The sub-series is arranged alphabetically by project location.","Commonwealth of VA Dept. of Mental Health and Mental Retardation, Richmond, VA [text only]","This sub-series contains plans, renderings and reproductions of multi-family residential projects for were private companies, individuals or other private agencies. The sub-series is arranged in alphabetical order by project location.","Recreation Complex design and rendering by Carson \u0026 Assoc. [rendering original]","Abbot \u0026 Assoc. and Carson, Commonwealth of VA Dept. of Highways","First floor of four bedroom unit plan","Second floor of four bedroom unit plan","This sub-series contains plans, renderings, and reproductions of residential projects for private individuals. The sub-series is arranged in alphabetical order by project location.","This series contains a drawing by Edward G. Carson entitled the \"Torso Tree.\""],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_bc3effd7e1eff1ec748a542b727a2b63\" label=\"Abstract\"\u003eNorfolk landscape architect and artist. Designed landscapes for buildings ranging from Webb Center to the bowling alley at a US Air Force base in Italy. The collection includes approximately three hundred oversized landscape plans, as well as a small number of photographs and written descriptions of landscape designs.\u003c/abstract\u003e"],"abstract_tesim":["Norfolk landscape architect and artist. Designed landscapes for buildings ranging from Webb Center to the bowling alley at a US Air Force base in Italy. The collection includes approximately three hundred oversized landscape plans, as well as a small number of photographs and written descriptions of landscape designs."],"names_ssim":["ODU Community Collections","Carson, Edward G. (1920–2004)"],"corpname_ssim":["ODU Community Collections"],"persname_ssim":["Carson, Edward G. (1920–2004)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":476,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T20:04:39.789Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vino_repositories_5_resources_19_c01_c01_c12"}},{"id":"vihart_repositories_4_resources_488_c05","type":"Subgroup","attributes":{"title":"Unprocessed audiovisual and media","breadcrumbs":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_488_c05","ref_ssm":["vihart_repositories_4_resources_488_c05"],"id":"vihart_repositories_4_resources_488_c05","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","parent_ssi":"vihart_repositories_4_resources_488","parent_ssim":["vihart_repositories_4_resources_488"],"parent_ids_ssim":["vihart_repositories_4_resources_488"],"parent_unittitles_ssm":["Furious Flower Poetry Center Records"],"parent_unittitles_tesim":["Furious Flower Poetry Center Records"],"text":["Furious Flower Poetry Center Records","Unprocessed audiovisual and media","Original audiovisual and media are in process and not available pending reformatting."],"title_filing_ssi":"Unprocessed audiovisual and media","title_ssm":["Unprocessed audiovisual and media"],"title_tesim":["Unprocessed audiovisual and media"],"normalized_title_ssm":["Unprocessed audiovisual and media"],"component_level_isim":[1],"repository_ssim":["James Madison University"],"collection_ssim":["Furious Flower Poetry Center Records"],"has_online_content_ssim":["false"],"child_component_count_isi":10,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":873,"parent_access_restrict_tesm":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"accessrestrict_html_tesm":["\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Original audiovisual and media are in process and not available pending reformatting."],"_nest_path_":"/components#4","timestamp":"2026-05-21T00:25:29.210Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_488","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_488.xml","aspace_url_ssi":"https://aspace.lib.jmu.edu/repositories/4/resources/488","title_ssm":["Furious Flower Poetry Center Records"],"title_tesim":["Furious Flower Poetry Center Records"],"unitdate_ssm":["1970-2024"],"unitdate_inclusive_ssm":["1970-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 0017","/repositories/4/resources/488"],"text":["UA 0017","/repositories/4/resources/488","Furious Flower Poetry Center Records","United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century","American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)","Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting.","It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.","The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.","\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.","The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.","Additional information on the Dark Room Collective can be found  here.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.","See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L.","English"],"unitid_tesim":["UA 0017","/repositories/4/resources/488"],"normalized_title_ssm":["Furious Flower Poetry Center Records"],"collection_title_tesim":["Furious Flower Poetry Center Records"],"collection_ssim":["Furious Flower Poetry Center Records"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"geogname_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"creator_ssm":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_ssim":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_corpname_ssim":["James Madison University. Furious Flower Poetry Center"],"creators_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","James Madison University. Furious Flower Poetry Center"],"places_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"access_terms_ssm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Furious Flower Poetry Center transferred these materials to Special Collections on May 16 and June 29, 2016. Subsequent transfers occurred in September 2017, September 2019, April 2023, and October 2024."],"access_subjects_ssim":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"access_subjects_ssm":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"extent_tesim":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"genreform_ssim":["Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003erunning time:\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting."],"accruals_html_tesm":["\u003cp\u003eIt is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis."],"altformavail_html_tesm":["\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions."],"appraisal_html_tesm":["\u003cp\u003eSmall Purchase Credit Card Statements were discarded due to lack of research value.\u003c/p\u003e\n","\u003cp\u003eDue to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.\u003c/p\u003e"],"appraisal_heading_ssm":[" Appraisal Information"],"appraisal_tesim":["Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eGrants and Financial Files, 2004-2021\u003c/item\u003e\n      \u003citem\u003ePublications and Manuscripts, 1993-2012\u003c/item\u003e\n      \u003citem\u003eEvents, Programs, and Workshops, 1990-2019\u003c/item\u003e\n      \u003citem\u003eConference Records, 1970-2015\u003c/item\u003e\n    \u003c/list\u003e","\u003cp\u003eThe series is arranged chronologically into three sub-series:\u003c/p\u003e\n","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\u003citem\u003eSub-series 4.1: 1994 Conference, 1970-2009\u003c/item\u003e\u003citem\u003eSub-series 4.2: 2004 Conference, 2002-2007\u003c/item\u003e\u003citem\u003eSub-series 4.3: 2014 Conference, 2013-2015\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eEvent footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details."],"bibliography_html_tesm":["\u003cbibref\u003e\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml."],"bioghist_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:\u003c/p\u003e\n","\u003cp\u003eThe time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.\u003c/p\u003e\n","\u003cp\u003eMany who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. \u003c/p\u003e\n","\u003cp\u003eDue to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.\u003c/p\u003e\n","\u003cp\u003eIn 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.\u003c/p\u003e\n","\u003cp\u003eToday, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).\u003c/p\u003e\n","\u003cp\u003eFFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.\u003c/p\u003e","\u003cp\u003eThe 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.\u003c/p\u003e"],"bioghist_heading_ssm":["Administrative History","Bio/Historical Note"],"bioghist_tesim":["The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference."],"odd_html_tesm":["\u003cp\u003eAdditional information on the Dark Room Collective can be found \u003ca href=\"https://poets.org/text/brief-guide-dark-room-collective\"\u003ehere.\u003c/a\u003e\u003c/p\u003e"],"odd_heading_ssm":["General Note"],"odd_tesim":["Additional information on the Dark Room Collective can be found  here."],"otherfindaid_html_tesm":["\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;695ef954-06ba-43a6-b341-cc3edf3fc1e6\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|695ef954-06ba-43a6-b341-cc3edf3fc1e6/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;9e242b35-14e6-4742-bd85-186794dcc4ec\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|9e242b35-14e6-4742-bd85-186794dcc4ec/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;ac68aac5-b304-45cc-aeb4-0905f8a57259\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|ac68aac5-b304-45cc-aeb4-0905f8a57259/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e"],"otherfindaid_heading_ssm":["Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL"],"otherfindaid_tesim":["Preservica Internal","Preservica Access","Preservica Internal","Preservica Access","Preservica Internal","Preservica Access"],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e","\u003cp\u003e[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA"],"processinfo_html_tesm":["\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"\u003c/p\u003e","\u003cp\u003eIn April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.\u003c/p\u003e","\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eVideo recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Note"],"processinfo_tesim":["The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions."],"relatedmaterial_html_tesm":["\u003cp\u003eSee \"1994 Conference Program, 1994\" in Series 1 for original conference program.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30039\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30040\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials"],"relatedmaterial_tesim":["See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut"],"scopecontent_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.\u003c/p\u003e","\u003cp\u003eArranged chronologically. \u003c/p\u003e\n","\u003cp\u003eFFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.\u003c/p\u003e","\u003cp\u003eArranged chronologically by project date and sub-arranged alphabetically within each project.\u003c/p\u003e\n","\u003cp\u003eThis series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.\u003c/p\u003e","\u003cp\u003eArranged chronologically by event and sub-arranged alphabetically within each event.\u003c/p\u003e\n","\u003cp\u003eThis series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.\u003c/p\u003e\n","\u003cp\u003eOne file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.\u003c/p\u003e","\u003cp\u003eThis series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.\u003c/p\u003e","\u003cp\u003eArranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.\u003c/p\u003e","\u003cp\u003eThis series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.\u003c/p\u003e","\u003cp\u003eOpening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.\u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003eMichael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 MII videocassettes.\u003c/p\u003e","\u003cp\u003eRita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. \u003c/p\u003e\n","\u003cp\u003eTape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 6 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eFootage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eArranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eMaterials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.\u003c/p\u003e","\u003cp\u003eOpening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eFootage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eKeynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes. \u003c/p\u003e","\u003cp\u003eFootage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eLaureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 VHS videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 DVCAM videocassettes.  \u003c/p\u003e","\u003cp\u003ePoetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eThe third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 videocassettes.\u003c/p\u003e","\u003cp\u003eLifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.\u003c/p\u003e","\u003cp\u003eOpening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eKeynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026amp; Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.\u003c/p\u003e","\u003cp\u003eThe Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eA Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eFurious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eDear Yusef: Celebrating the Life \u0026amp; Work of Poet \u0026amp; Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eWalk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eLaureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eMagnitude \u0026amp; Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026amp; Culture (CBLC), and Obsidian: Literature \u0026amp; Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eGrowing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eBlack Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eBlack Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.\u003c/p\u003e","\u003cp\u003eA Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eClosing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.\u003c/p\u003e","\u003cp\u003eInterview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Contents","Contents","Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024."],"separatedmaterial_html_tesm":["\u003cp\u003eA copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. \u003c/p\u003e\n","\u003cp\u003eThe following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.\u003c/p\u003e\n","\u003cp\u003eA broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately."],"userestrict_html_tesm":["\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions"],"userestrict_tesim":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_45f28e16f5fdc8ade98243e65fa6eef4\"\u003eThe Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.\u003c/abstract\u003e"],"abstract_tesim":["The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center."],"names_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). 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B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":883,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:25:29.210Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488_c05"}},{"id":"viblbv_repositories_2_resources_2251_c01_c01_c01","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c01_c01","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c01_c01"],"id":"viblbv_repositories_2_resources_2251_c01_c01_c01","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,","unspecified","box 1"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[3],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":16,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":3,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 1"],"_nest_path_":"/components#0/components#0/components#0","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c01"}},{"id":"viblbv_repositories_2_resources_2251_c01_c01_c02","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c01_c02","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c01_c02"],"id":"viblbv_repositories_2_resources_2251_c01_c01_c02","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,","unspecified","oversize 81"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[3],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":20,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["oversize 81"],"_nest_path_":"/components#0/components#0/components#1","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c02"}},{"id":"viblbv_repositories_2_resources_2251_c01_c01_c03","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c01_c03","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c01_c03"],"id":"viblbv_repositories_2_resources_2251_c01_c01_c03","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c01","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c01"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES A: General,","unspecified","map-case 30, Drawer 1, Folder 1"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[3],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":22,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["map-case 30, Drawer 1, Folder 1"],"_nest_path_":"/components#0/components#0/components#2","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c01_c03"}},{"id":"viblbv_repositories_2_resources_2251_c01_c02_c01_c01","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c01_c01","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c02_c01_c01"],"id":"viblbv_repositories_2_resources_2251_c01_c02_c01_c01","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c02_c01","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c01","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c01"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995","unspecified","box 1"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[4],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":26,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 1"],"_nest_path_":"/components#0/components#1/components#0/components#0","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c01_c01"}},{"id":"viblbv_repositories_2_resources_2251_c01_c02_c01_c02","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c01_c02","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c02_c01_c02"],"id":"viblbv_repositories_2_resources_2251_c01_c02_c01_c02","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c02_c01","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c01","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c01"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c01"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Family Portraits, 1918-1995","unspecified","box 81"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[4],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":31,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 81"],"_nest_path_":"/components#0/components#1/components#0/components#1","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c01_c02"}},{"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c01","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02_c01","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c02_c02_c01"],"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c01","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous","unspecified","box 10"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[4],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":38,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 10"],"_nest_path_":"/components#0/components#1/components#1/components#0","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c01"}},{"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c02","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02_c02","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c02_c02_c02"],"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c02","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous","unspecified","box 11, Container B"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[4],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":40,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 11, Container B"],"_nest_path_":"/components#0/components#1/components#1/components#1","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c02"}},{"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c03","type":"Subgroup","attributes":{"title":"unspecified","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02_c03","ref_ssm":["viblbv_repositories_2_resources_2251_c01_c02_c02_c03"],"id":"viblbv_repositories_2_resources_2251_c01_c02_c02_c03","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssi":"viblbv_repositories_2_resources_2251_c01_c02_c02","parent_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_ids_ssim":["viblbv_repositories_2_resources_2251","viblbv_repositories_2_resources_2251_c01","viblbv_repositories_2_resources_2251_c01_c02","viblbv_repositories_2_resources_2251_c01_c02_c02"],"parent_unittitles_ssm":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"parent_unittitles_tesim":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous"],"text":["Eleanore Pettersen Architectural Collection,","SERIES I: Personal Papers,","SUBSERIES B: Photographs/Slides,","Photographs, Miscellaneous","unspecified","box 11, Container C"],"title_filing_ssi":"unspecified","title_ssm":["unspecified"],"title_tesim":["unspecified"],"normalized_title_ssm":["unspecified"],"component_level_isim":[4],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"has_online_content_ssim":["false"],"child_component_count_isi":1,"level_ssm":["Subgroup"],"level_ssim":["Subgroup"],"sort_isi":47,"parent_access_restrict_tesm":["Collection is open to research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"containers_ssim":["box 11, Container C"],"_nest_path_":"/components#0/components#1/components#1/components#2","timestamp":"2026-05-21T02:36:54.397Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2251","ead_ssi":"viblbv_repositories_2_resources_2251","_root_":"viblbv_repositories_2_resources_2251","_nest_parent_":"viblbv_repositories_2_resources_2251","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2251.xml","title_filing_ssi":"Pettersen, Eleanore Architectural Collection","title_ssm":["Eleanore Pettersen Architectural Collection,"],"title_tesim":["Eleanore Pettersen Architectural Collection,"],"unitdate_ssm":["1915-2003","1950-2000"],"unitdate_bulk_ssim":["1950-2000"],"unitdate_inclusive_ssm":["1915-2003"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2003.018"],"text":["Ms.2003.018","Eleanore Pettersen Architectural Collection,","Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)","Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010.","Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.","The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.","Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices","The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ ).","The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.","The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work.","Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.","Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959","The materials in the collection are in English."],"unitid_tesim":["Ms.2003.018"],"normalized_title_ssm":["Eleanore Pettersen Architectural Collection,"],"collection_title_tesim":["Eleanore Pettersen Architectural Collection,"],"collection_ssim":["Eleanore Pettersen Architectural Collection,"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The Eleanore Pettersen Architectural Collection was donated to Special Collections in September 2003. Additions were received in April 2010 and August 2011."],"access_subjects_ssim":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"access_subjects_ssm":["Architects","Buildings -- Specifications","International Archive of Women in Architecture (IAWA)","Women architects -- New Jersey","Women -- History","Women-owned architectural firms","Architectural drawing -- 20th century","Architects -- New Jersey","Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"has_online_content_ssim":["false"],"physdesc_tesim":["Some of the materials in the collection were matted for inclusion in \"Glass Ceilings: Highlights from the IAWA Center\" an exhibit held at the Virginia Center for Architecture, Richmond, VA, 2010."],"extent_ssm":["296 Cubic Feet 219 boxes; 7 map cases"],"extent_tesim":["296 Cubic Feet 219 boxes; 7 map cases"],"genreform_ssim":["Photographs","Models (representations)","Blueprints (reprographic copies)","Architectural drawings (visual works)"],"date_range_isim":[1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research.\u003c/p\u003e","\u003cp\u003eThe accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research.","The accessible information has been transferred to Special Collections server space, please contact Special Collections Staff for assistance in accessing this material."],"arrangement_html_tesm":["\u003cp\u003eThe Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The Eleanore Pettersen Architecture Collection is divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Art, Artifacts, Models. The series are arranged alphabetically by subject except for the Project Records. They are arranged in a project index alphabetically by client's name."],"bioghist_html_tesm":["\u003cemph render=\"italic\"\u003eAgeless Perceptions IV: Senior Women in Architecture\u003c/emph\u003e","\u003cblockquote\u003e1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n\u003c/blockquote\u003e","\u003cemph render=\"italic\"\u003eAgeless Perceptions IV – Senior Women in Architecture\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eEleanore Pettersen, FAIA/Four Decades\u003c/emph\u003e","\u003cemph render=\"italic\"\u003eTaliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices\u003c/emph\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Ageless Perceptions IV: Senior Women in Architecture","1991 will be my fortieth year as an architectural principal with my own office. Architecture has been a total commitment. If I were to make a choice all over again, the choice would be the same. Architecture has imbued me with a sense of self worth and has given me the privilege of contributing a new sense of life and meaning to my clients and their families.\n\n","Ageless Perceptions IV – Senior Women in Architecture","Eleanore Pettersen, FAIA/Four Decades","Taliesin Legacy: The Independent Work of Frank Lloyd Wright Apprentices"],"odd_html_tesm":["\u003cp\u003eThe guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e"],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Eleanore Pettersen Architectural Collection by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 ( https://creativecommons.org/share-your-work/public-domain/cc0/ )."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e"],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Eleanore Pettersen Architectural Collection, Ms2003-018, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement and description of the Eleanore Pettersen Architectural Collection commenced in February, 2009 and was completed in February, 2010. Preliminary processing was untaken by Amy Vilelle in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003cextref href=\"http://imagebase.lib.vt.edu/browse.php?folio_ID=/iawa/pedd\" title=\"ImageBase\"\u003eImageBase\u003c/extref\u003e at Virginia Tech's Special Collections contains digital images of Pettersen's work.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["The  ImageBase  at Virginia Tech's Special Collections contains digital images of Pettersen's work."],"scopecontent_html_tesm":["\u003cp\u003ePettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.\u003c/p\u003e","\u003cp\u003eThe Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.\u003c/p\u003e","\u003cp\u003eThe subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.\u003c/p\u003e","\u003cp\u003eThe Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.\u003c/p\u003e","\u003cp\u003ePettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.\u003c/p\u003e","\u003cp\u003eProfessional and civic awards presented to Pettersen.\u003c/p\u003e","\u003cp\u003ePettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.\u003c/p\u003e","\u003cp\u003eThe Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.\u003c/p\u003e","\u003cp\u003eThe General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).\u003c/p\u003e","\u003cp\u003eThe Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.\u003c/p\u003e","\u003cp\u003eThe Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.\u003c/p\u003e","\u003cp\u003eThe Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.\u003c/p\u003e","\u003cp\u003eThe Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.\u003c/p\u003e","\u003cp\u003eThe Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated\u003c/p\u003e","\u003cp\u003eThe Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.\u003c/p\u003e\n","\u003cp\u003e\u003cemph render=\"bold\"\u003eArrangement note:\u003c/emph\u003e The \u003cextref actuate=\"onRequest\" href=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\" show=\"new\" title=\"http://spec.lib.vt.edu/assets/documents/iawa/Ms2003-018pi.xls\"\u003eProject Index\u003c/extref\u003e is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. \u003c/p\u003e","\u003cp\u003eThe Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. \u003c/p\u003e\n","\u003cp\u003ePettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. \u003c/p\u003e","\u003cp\u003eThe Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.\u003c/p\u003e","\u003cp\u003eThe Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.\u003c/p\u003e","\u003cp\u003eThe Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Pettersen's collection encompasses over fifty years of architectural practice including project files, sketches, drawings, blueprints, models, slides and photographs representing approximately 600 designs. The collection also contains Pettersen's personal papers including biographical information, family papers, and photographs. The materials range in date from 1915-2003 (bulk 1950-2000) and are divided into five series: Personal Papers, Professional Papers, Office Records, Project Records, and Artifacts and Models. See the contents list below for more detail about the individual series.","The Personal Papers series contains Pettersen's family papers, biographical information, and personal correspondence (1963-1999). The series also contains a subseries of photographs and slides.","The subseries photographs/slides are divided further into Family Portraits and Photographs, Miscellaneous. The miscellaneous photographs are mostly unidentified snapshots. Major subjects present include: Altrusa meetings; Pettersen's barn/studio and pets; Pettersen's travels to visit friends; parties/gatherings; house models; Taliesin West Half Century celebration; and a visit to Frank Lloyd Wright's Grand Waikapu Country Club in Maui, Hawaii.","The Professional Papers series consists of material relating to Pettersen's participation in various professional and civic organizations, material (collected by Pettersen) documenting Frank Lloyd Wright and Taliesin, various awards received by Pettersen, correspondence, and general reference files.","Pettersen was active locally and nationally in professional organizations, as a member of the New Jersey Society of Architects and the American Institute of Architects, and in civic organizations, as a member of the Altrusa Club, YWCA, and the New Jersey State Council on the Arts. She was also involved in various local groups/projects, such as the Housing Development Corporation of Bergen County, Bergen Community College Women's Institute Advisory Council, and the Uniform Construction Code Advisory Board. Materials relating to these activities primarily include minutes, correspondence, agendas, reports, notes, and printed material.","Professional and civic awards presented to Pettersen.","Pettersen served as an apprentice to Frank Lloyd Wright as part of the Taliesin Fellowship from 1941 to 1943. Over the years, she collected material, such as newspaper and magazine clippings, newsletters (Frank Lloyd Wright Building Conservancy and FLLW Update), documenting Frank Lloyd Wright, his buildings, and his legacy. She also collected material, such as correspondence, publications, and clippings relating to Taliesin Fellows.","The Office Records series consists of materials relating to the day to day operations of a private architectural practice including financial materials, exhibit materials, publicity, clippings and scrapbooks featuring Pettersen and her practice, and photographs.","The General subseries focuses on the daily operations of the practices with an emphasis on financial matters. Materials present include: invoices, architectural fees, budget correspondence, purchase order books (1972-2000) and appointment books (1993-1998).","The Clippings/Scrapbook subseries includes newspaper and magazine clippings (1957- 2000) about Pettersen and her practice, real estate ads for houses designed by Pettersen, and two scrapbooks compiled by Pettersen.","The Presentation Materials subseries contain exhibit boards, publicity, and other materials for three exhibits featuring Pettersen.","The Public Relations series contains materials relating to the promotion of Pettersen's practice including press clippings, correspondence between Pettersen and interviewers/media outlets, and photograph albums containing a selection of Pettersen's projects.","The Photographs subseries contain glass slides, photographs, and slides of a mixture of unidentified structures and buildings designed by Pettersen. The photographs are mostly snapshots and Polaroids.","The Computer Disks subseries contains 5 ¼-inch and 3 ½-inch diskettes. They contain office records and project files. 1986-1988 and undated","The Project Records series consists of files, specifications, drawings, and other material relating to over 650 design and construction projects carried by Pettersen with her consecutive firms Eleanore Pettersen Associates and Design Collaborative.","Arrangement note:  The  Project Index  is a way to organize the various formats of architectural records from the same project. The project index is organized alphabetically by client's last name and then by project number. Researchers should note that several distinct projects share project numbers. ","The Files subseries consists of standard forms of agreement, change orders, invoices for architectural service, applications and certificates of payment, specifications, photographs, notes, correspondence, drawings and sketches, purchase orders, job reports, schedules, and other material created by Pettersen (and, to a certain extent, her associates) in the course of work on various residential and commercial projects. Projects primarily include the design and construction of new residences, and additions and alterations to existing residences. Most projects are located in New Jersey although there are also projects in New York, Massachusetts, Vermont, Connecticut, Maine, Michigan, Colorado, Virginia, North Carolina, South Carolina, Georgia, Tennessee, and Florida. ","Pettersen classified some of her files as \"Dead Files.\" This classification has been retained and is indicated in the Project Index with an italicized box number. The \"Dead Files\" include boxes 40-47. ","The Specifications subseries consist primarily of master copies, but also some draft and office copies, of specifications for various projects. Copies of specifications can also be found in the Files subseries; these copies were maintained distinct from the project files and therefore seem to warrant arrangement as a separate subseries.","The Drawings subseries includes architectural plans and sketches on a variety of formats including trace paper, diazo prints, blueprints, and CAD drawings.","The Artifacts, Models series contains memorabilia, material samples, and models associated with Pettersen and her practice as well as Design Collaborative."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form:  http://bit.ly/scuareproduction . Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form:  http://bit.ly/scuapublication . Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_962b3c36991e920d77cf488eb8cd9c4d\" label=\"Abstract\"\u003eEleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000.\u003c/abstract\u003e"],"abstract_tesim":["Eleanore K. Pettersen (1916-2003) received a Certificate in Architecture from Cooper Union for Advancement of Science and Art in 1941, and was an apprentice to Frank Lloyd Wright at Taliesin from 1941-1943. She was one of the first women licensed as an architect in the state of New Jersey in 1950, and was the first woman in New Jersey to open her own architectural office. She primarily designed residences and was also very active in professional and civic organizations. She became a Fellow of the American Institute of Architects (FAIA) in 1991. The collection consists of project files, sketches, blueprints, drawings, models, photographs, and other material relating to over 600 of Pettersen's projects as well as material relating to her participation in various professional and civic organizations. The materials in the collection range in date from 1915-2003 with the bulk of the material dating 1950-2000."],"names_coll_ssim":["Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates","Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Design Collaborative (1970-?)","Eleanore Pettersen Associates"],"persname_ssim":["Pettersen, Eleanore, 1916-2003","Wright, Frank Lloyd, 1867-1959"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":641,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T02:36:54.397Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viblbv_repositories_2_resources_2251_c01_c02_c02_c03"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":15},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary"}},{"attributes":{"label":"James Madison University","value":"James Madison University","hits":141},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=James+Madison+University"}},{"attributes":{"label":"Library of Virginia","value":"Library of Virginia","hits":21},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Library+of+Virginia"}},{"attributes":{"label":"Old Dominion University","value":"Old Dominion University","hits":118},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Old+Dominion+University"}},{"attributes":{"label":"Randolph-Macon College","value":"Randolph-Macon College","hits":34},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Randolph-Macon+College"}},{"attributes":{"label":"The George Washington Presidential Library at Mount Vernon","value":"The George Washington Presidential Library at Mount Vernon","hits":4},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=The+George+Washington+Presidential+Library+at+Mount+Vernon"}},{"attributes":{"label":"University of Mary Washington","value":"University of Mary Washington","hits":15},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=University+of+Mary+Washington"}},{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":86},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept."}},{"attributes":{"label":"Virginia Commonwealth University, Cabell Library","value":"Virginia Commonwealth University, Cabell Library","hits":4},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Virginia+Commonwealth+University%2C+Cabell+Library"}},{"attributes":{"label":"Virginia Military Institute Archives","value":"Virginia Military Institute Archives","hits":63},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Virginia+Military+Institute+Archives"}},{"attributes":{"label":"Virginia Polytechnic Institute and State University","value":"Virginia Polytechnic Institute and State University","hits":584},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Blevel%5D%5B%5D=Subgroup\u0026f%5Brepository%5D%5B%5D=Virginia+Polytechnic+Institute+and+State+University"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Blevel%5D%5B%5D=Subgroup"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"A.S. 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