We continue to remember the 32 victims:
Ross A. Alameddine
We Are Better Than We Think: April 16th remembrance exhibit online
Every year Special Collections and University Archives, in partnership with the University Libraries and Virginia Tech Student Engagement and Campus Life, hosts annual remembrance exhibits to highlight the outpouring of love and support the university received in the aftermath of the tragedy of April 16, 2007. Although we are unable to host substantial physical exhibits this year due to the Covid-19 pandemic, we have continued the remembrance exhibit online.
The exhibit We Are Better Than We Think: Selections from the April 16, 2007 Condolence Archives highlights the items Virginia Tech received following the events of April 16th. It features artifacts, children’s letters, poems, and more with messages of love, hope, and peace, most of which have not been displayed for exhibition before.
Visit the exhibit online at https://tinyurl.com/April162021Exhibit.
The title piece of the exhibit, “We Are Better Than We Think” by Eric W. Schuttler (pictured above) is on display in Newman Library near the 2nd floor entrance, April 12 thru April 23 during the library’s open hours. (No other items are on display.)
For more information on the university’s remembrance events, including the virtual 3.2-Mile Run in Remembrance, please visit https://www.weremember.vt.edu/.
Unknown Origin: April 16th remembrance exhibit online
Every year Special Collections and University Archives, in partnership with the University Libraries and Virginia Tech Student Engagement and Campus Life, hosts annual remembrance exhibits to highlight the outpouring of love and support the university received in the aftermath of the tragedy of April 16, 2007. Although we are unable to host physical exhibits this year due to the Covid-19 pandemic, we have continued the remembrance exhibit online.
The exhibit Unknown Origins: Anonymous gifts in the April 16, 2007 Condolence Archives highlights the messages Virginia Tech received from unknown individuals, organizations, or places following the events of April 16, 2007. It features anonymous donations and gifts of unknown origin, paying homage to those who want to be part of the mourning and recovery process but do not necessarily want to be known.
Visit the exhibit online at https://tinyurl.com/April16Exhibit.
For more information on the university’s remembrance events, including the virtual 3.2-Mile Run in Remembrance, please visit https://www.weremember.vt.edu/.
Fries Textile Plant Records Processing Project Post-Mortem
Here I am, on the final day of my grant-funded project to process the records of the Fries Textile Plant. Its been a fun year, and Ive truly enjoyed working on this project. Wrapping it up the past couple of weeks, Ive found myself quite pleased with the amount of work Ive managed to accomplish. Go me!
Shameless self-promotion aside, Id like to do a sort of post-mortem on the past year. More and more new (or not-so new) archivists are finding themselves in time- and scope-limited jobs, which require a different set of skills than the endurance race into posterity that is the lot of the traditional archivist. Rather than thinking about the long term health and wellness of the archives as a whole and wearing a variety of necessary hats as a result, we temporary members of staff are typically asked to execute very particular orders along a strict timeline, and then- frequently- to leave, occasionally with our work unfinished. It can be heartbreaking, and freeing, and terribly restrictive, and wonderfully lax.
Ultimately, the success of the project- and your own success as a project archivist- depends on the project youre employed on, the team youre working with, and your personal career goals. Unfortunately, almost none of us can afford to be picky these days when hunting for archival work. While I understand the temptation to take the first job offered in the field (boy howdy do I, but thats another story), often it is the jobs taken out of desperation that lead to the worst fits professionally.
Luckily, that is not the case in this instance. I have loved working with the textile mill records, the other staff in Special Collections and University Archives, and the people of Fries. I have learned an enormous amount about the region, the textile industry, and being an archivist from my time here. I liked it so much, tomorrow Im embarking on another collection processing project here at Virginia Tech, this time with the records of a defunct metallurgical company. To put a nice bow on the past year, though, I offer the following summary and thoughts.
The majority of my time this year was spent in processing the records. Previous student employees had made a dent in this work, but there still remained a large number of boxes as-yet untouched. The day-to-day of processing involves a certain tolerance for repetitive tasks, but the frequent discovery of interesting documents in this particular collection kept me engaged and happy with my job. Processing is often the bulk of project positions such as these, so its a valuable skill to be able to find joy it. This photo shows a (tiny) fraction of the staples I pulled this year, a task which does not give me joy but which does offer a certain small satisfaction.
By far the most rewarding part of the project has been working with the people of Fries, and bringing this collection back to them in the form of 3 community events I put together over the course of the year. The Fries-ians are warm, passionate, and deeply committed to their town, which was both refreshing and touching. They were wonderfully eager to interact with the collection and learn more about the place that they lived in. It has been an honor to facilitate their historical interest. This picture was taken of attendees at the first event I put on in Fries, March 30, 2019.
My work also involved a small digitization project, resulting in a digital exhibit hosted on the Special Collections and University Archives site, which can be found here. I am pleased with the result, overall. I gave several presentations on the project and my work for peers within Virginia Tech and the larger archival community as well, to make them aware of the collection and share what I had learned. I love being able to share my efforts, and I hope that these presentations have shed light on what we do in the archives and helped those facing similar processing projects.
Finally, Id like to close with some thoughts about what Id do differently, if I had it to do over. First, I would put more effort into the community engagement with the events I put on. My points of contact for setting up the events were frequently busy, so relying on them to spread the word in town about these events led to a poorer turnout than I had hoped for, given the deep interest in town history that I knew many residents had. In future, I will do more advertising for community events to make sure that everyone who might want to attend knows about them.
Second, Id have liked to take more careful notes on items within the collection that I wanted to digitize. Several times, I found myself with such helpful comments as Folder 7, really neat, with no further context. In the haze of processing, I had prioritized moving on to the next folder over giving my future self any but the vaguest clue. This led to several instances of poring through folders, looking for the particular document I had been referencing. I will save time in the future by taking a few extra seconds to describe the materials I found really neat.
Lastly, I would have liked to do more digitization. I got the necessities done, the fascinating and the context-giving documents featured in the online exhibit, but ultimately I wish the whole collection could be made available online. I know that this is rarely feasible and occasionally not particularly desirable, but with this collection, I want very much for the people of Fries to be able to look through it at their leisure without needing to come up to Tech and sit in the reading room. Personally, I believe that as an archivist, access is my highest calling. In an ideal world, this small town would have its entire history to peruse at will. However, this is not that world, so I must be content with the circumstances as they lay.
All that being said, I am proud of what Ive accomplished here, and I hope the next project will be even more successful.
Holding the Light: April 16th Remembrance Exhibits on display April 8-18, 2019
“Holding the Light,” is one of two exhibits that will be displayed on the second floor commons in Virginia Tech’s Newman Library as the university observes its 2019 Day of Remembrance.
The exhibit, on display Thursday, April 8 through Tuesday April 18, is a collaboration between the University Libraries and Student Engagement and Campus Life and honors those lost and injured on April 16, 2007. It features items of condolence from around the nation and world.
Among the artifacts on display will be an eight-pointed star quilt from St. Labre Indian School in Ashland, Montana, large banners signed by people in Seoul, South Korea, a work of calligraphy from Japan based on the Buddhist Heart Sutra, and a painting by students at Rappahannock County High School. The exhibit will also include items from the State University of New York Morrisville, Florida State University, Virginia Tech Graduate Arts Council, Hillel, Living Buddhism, and Unitarian Universalist Congregation of the New River Valley.
A display in the windows of Special Collections on the 1st floor of Newman Library will also reflect the “Holding the Light” theme. Most of the items on display were either left at the Drillfield memorial in the aftermath of April 16th or from vigils at other places in remembrance of the victims and in honor of the survivors.
The second exhibit, “A Community of Learners, a Legacy of Achievement,” will feature photographs of each of the 32 victims and a selection of books that reflect their individual disciplines and interests.
In addition to these two exhibits, a small garden space for quiet reflection outside of Squires Student Center’s Old Dominion Ballroom will be available to the community. The garden features a large inscribed rock received from Itawamba Community College in Fulton, Mississippi, and stones from previous April 16 Perspective Gallery Exhibitions. Itawamba Community College planted a dogwood tree in honor of the victims, and this garden also includes a dogwood tree.
For more information on the 2019 Day of Remembrance, please visit the We Remember website.
Commemorating a Sherwood Anderson Anniversary
I’ll be honest. I’ve written about Sherwood Anderson on the blog before. Three times, to be more precise. And this makes four, but for a good reason. Among his many works, Sherwood Anderson was the author ofWinesburg, Ohio, a collection of short stories first published in May 1919. Why am I being specific about the month? Because this May will be the book’s 100th anniversary and Special Collections and VT Publishing in the University Libraries are doing something to celebrate!
On May 2, 2019, we will be hosting a reception and a guest lecture by Dr. W. D. Taylor about Sherwood Anderson. In addition to commemorating Anderson, the event will celebrate VT Publishing’s digital and analog publication of Dr. Taylor’s essay, “Requiem for a Wanderer: Sherwood Anderson’s Last Days.” During the event, select items from Special Collections relating to Anderson will also be on display.
Downloadable pdf of the flyer: Anderson_Flyer
But, of course that’s not enough Sherwood Anderson for the month! During May, Special Collections display cases in the reading room will feature an exhibit called “The Life, Letters, and Literature of Sherwood Anderson,” with a focus on Winesburg, Ohio, and contextualizing the work in Anderson’s life and time. Special Collections has editions of the book in more than eight languages! In addition, we will take the opportunity to launch a permanent digital exhibit called “Sherwood Anderson: His Life, His Letters, His Literature, and His Circle.” This digital exhibit will contain content from collections in Special Collections related to Anderson directly, as well as to his family, friends, and collaborators. It will feature highlights from collections already digitized, including the James T. Farrell Letters to Eleanor Copenhaver Anderson, 1952, 1954 (Ms2017-005) and the Sherwood Anderson Correspondence with Llewellyn Jones, 1916-1924, n.d. (Ms2015-044), as well as newly digitized collections, photographs, book covers, dust jackets, and illustrations.
The calendar item for this event is online at https://calendar.lib.vt.edu/event/5228637 and more information about the forthcoming exhibits is available online at https://calendar.lib.vt.edu/event/5228708. “The Beautiful Truths of Sherwood Anderson” is an event open to all and we encourage you to join us for some refreshment and conversation! It begins at 5pm on Thursday, May 2, 2019, in the Multipurpose Room on the first floor of Newman Library. If you have questions, contact us (email@example.com or 540-231-6308)!
Previous posts on Sherwood Anderson:
Teaching for a New Audience: One Archivist’s Adventure
This semester, I embarked on a new adventure: Teaching a Lifelong Learning Institute (LLI) class! From their website: “The Lifelong Learning Institute at Virginia Tech is a member-driven, volunteer organization that draws on the wealth of academic and community resources in the New River Valley to provide intellectual, cultural, and social experiences for curious adults 50 and older.” My course is called “Finding Hidden Treasures in the Archives” and its goal is to introduce the students to Virginia Tech Special Collections and University Archives, as well as learn the basic of archives/special collections generally. Since much of our instruction in the department is based around 1 session with students (2, if we’re lucky), this 5-session course with 9 students has given me a place to experiment and try out some crazy ideas! We started the first Monday in October and have one final session on the 29th. Each week, we’ve had a theme, a mini lecture on the theme & how it relates to our materials/how our materials represent the theme, learned about special collections resources, and gone hands-on with materials.
Here’s what we’ve been up to (in short form–more details in a moment):
- Week 1:An Introduction to Special Collections and Archives–Who we are; What we do and why we do it; What we collect
- Week 2:War and Conflict–a look at the home fronts and the battlefields of the Civil War, World War I, and World War II
- Week 3:Hidden and Silent Voices–documenting and discussing underrepresented communities
- Week 4:History of Science–a crash course in engineering, flight, aerospace, and technological marvels
- (and coming up on Monday, for Week 5:Society and Pop Culture–celebration through song, advertising, food and drink, andfun locations–essentially, what people do with leisure time)
Although I had some plans at the outset, I’ve also tried to be proactive and flexible. So, if the students were interested in a particular topic or had particular questions, I’ve tried to visit and address those through the materials and themes. As a result, some recurring “bits” have evolved. Each week, we talk about challenges to collecting materials around the theme (from the archives perspective) and challenges to researching around that theme (from the researcher perspective). So, for example, when we talked about underrepresented and minority communities:
Each week, we’ve also talked about the kinds of materials in we have that include representation of the theme. Of course, that can vary, but it’s allow us to talk about the wide range of formats we house in Special Collections. This past week, while talking about the history of science, technology, and science fiction, we looked at personal and professional manuscript materials, photographs, published books, secondary sources, maps, and even listened to part of recording of a 1969 “Face the Nation” interview with Buzz Aldrin, Neil Armstrong, and Michael Collins (digitized from reel-to-reel). Since the Michael Collins collection also includes artifacts and even a painting, it was also a great opportunity to talk about some 3-D objects like this statue and our 19th century stove:
Each week, we’ve also talked about and looked at resources available through Special Collections: digital collections, finding aids, catalog records, and LibGuides. I’ve made up one “cheat sheet” for our resources and collections, and hope to have another done for our final session about locating materials online and at other archives and special collections. And as the final part of each week, we go hands-on with materials. Some of initial plans have gone out the window, but during our week on war and conflict, I tried something new. We had nine items (three from the Civil War, three from World War I, and three from World War II), one for each student. They had a few minutes to study their item and come up with some keywords. Using a whiteboard, we were able to list out some of those keywords and see where the similarities and differences emerged across and between conflicts.
The nice thing about teaching around a theme is that I’ve been able to look for–and find–connections between our main subject areas that I might not have otherwise considered. So, for example, when we talked about the history of science/technology, I started thinking about transportation. I pulled together a picture of a mule-driven team for hauling coal, images of railroad engines, and pictures taken of the lunar module from Apollo XI. The idea of getting from one form of transport to another was something I had certainlythoughtabout, but never put together in this specific way to share with an audience. And the thing that has surprised me is how many questions the students have! (The “curious” part of the description of LLI is no lie!) There are lots of questions about the materials, but also many on the more practical, logistical, and functional aspects of archivists and archives (or what I lovingly call “how the sausage is made”). While I love to talk about these topics, when teaching a single 50 minute session, you don’t usually have time to get into those kinds of details. The majority of my work is behind-the-scenes, with a focus on making materials accessible, so it’s fun to able to talk about what I do in a day, show people the finished product, and share my enthusiasm forwhy I do it.
While we still have a week to go, I have had SO MUCH FUN teaching this course. I’m especially looking forward to our last week, when we’ll look at diaries, sheet music, photographs, ephemera from social events, a scrapbook, and food & cocktail history (among other things). There is a lot we have historically done with our leisure time, but we don’t often try to talk about all of it at once! So, I hope we get to talk about why we do them (what makes them “fun”), what these kinds of activities have in common, and how they differ. Instruction isn’t something I do too often, but I love engaging with students of any age, when it gives me a chance to be an advocate for archives. I really enjoy sharing our collections and connecting students (and researchers) to materials. With this LLI class, I think we’re all learning from each other….and having fun!
Altered Images and Words: A Call for Creative Submissions
Make an animation. Make a gif. Make a collage. Write some microfiction. Write a poem. Get out your digital black-out marker to create some redacted poetry. Make something entirely unique that was inspired by an image or string of text. Remix and stretch your creativity. Archives are here to inspire!
Archives matter. They preserve records of human history and offer glimpses into the past. Historians mine them for the sources that make up their books and artists, musicians, and writers pull inspiration for their creative works. Genealogists seek out threads of family history and alumni find scholastic treasures.
October is American Archives Month and to celebrate special collections departments everywhere we’re holding an Archives Remix event all month long. Take some inspiration from the Virginia Tech Library archives and stretch your creative muscles by producing a visual or written work that uses one or more of the VT Special Collections images that are posted above.
Share your work on social media (Twitter or Instagram), tag #VTArchivesRemix and @VT_SCUA, and let us know which image(s) inspired your work. We’ll be sharing your artwork and written pieces all month long!
Send us your creations:
Crumbling under the weight of words:
Send us a piece of microfiction inspired by one or more of the images. Economy is key, so make sure to exercise efficiency of language. Submissions should be 200 words or less.
Use one or more of the images to create a new visual work. Think beyond boundaries and remix the images with your own work or repeat elements of the same picture to create something entirely new. Stills or animations, collages, videos, photographs, memeswe want to see it all.
Brief and bold:
Poetry is the ultimate in brevity and elegance of prose–no room for stray words or useless turns of phrase. Take inspiration from a fleeting image or line of text. Redact words on an existing page to unveil something entirely new. We can’t wait to read your poems, written or redacted.
Choose from the following images to inspire your own works:
Need a little extra inspiration?
- Read this incredibly moving microfiction piece, Sticks,by George Saunders.
- Explore eleven amazing pieces of microfiction.
- View some collages and gifs from the Mid-Atlantic Region Archivists Conference (MARAC) and from the Library of Congress.
- Learn about redacted poetry and read some phenomenal examples.
- Delve into practice with this Atlantic article about the process Lydia Davis uses to create her very short stories. It’s worth visiting just to read her 69-word composition In a House Besieged.
Check out the following link if you want to see more images and consider also entering the Virginia Archives Month 2018 Archival Oddities Remix Contest.
We can’t wait to see what you produce!
Flora Virginica and the Natural History of Carolina, Florida and the Bahama Islands
Over the past few months, I’ve stepped outside my normal topical areas of social justice and the history of traditionally marginalized communities. This departure was related to an exhibit titled Flora Virginica that is on display in our reading room from February 5, through March 16. I enjoy putting together exhibits, so I was happy to take this on even though it was something I knew nothing about. This blog post will include a description of the exhibit, the reasons for its existence, and the interesting history I discovered while putting it together (only not in that order). Enjoy!
An Exhibit, In Partnership
In 2012, the Flora of Virginia Project published Flora of Virginia (QK191 .W43 2012), a 1,572 page comprehensive compendium of Virginia plants. It’s a thick botanical tome of little interest to most people outside the botanical sciences. We acquired multiple copies in the library when it was first published and it isn’t one of our particular collecting focuses. It wasn’t something we were particularly focused on highlighting.
Skip ahead to fall of 2017 and an email from the Massey Herbarium to the Director of Special Collections mentioning an exhibit about Flora of Virginia that the Massey was going to be hosting. Special Collections was being involved because there was an opportunity to display an original Flora Virginica in support of the Massey exhibit. This is where I entered the process.
Over the course of a couple of months, I worked with Jordan Metzgarat the Massey Herbarium and Bland Crowder, editor of the 2012 Flora of Virginia, from the Flora of Virginia Project to arrange a loan of an original 18th century Flora Virginica. During the process of arranging this part of the exhibit, it was suggested that I might also wish to exhibit some 18th century Mark Catesby prints alongside the book. Still not knowing much about the project or the books, I opened discussions with Lynn McCashin, the Executive Director of the Garden Club of Virginia, to arrange a loan of some of their Catesby prints. The next few months consisted of multiple emails negotiating the logistics of the loans. As the date for the exhibit approached, I began to research these items so that I could create some didactic labels for the exhibit (those short little descriptions that go next to items in museum-type displays).
In order to adequately describe the 1762 edition of Flora Virginica and the 1771 Catesby prints – and explain what they had to do with one another and Virginia history, I had to learn that history myself. Where did I start? A general web search, of course. Wikipedia offers great superficial overviews on just about any topic. That was enough to get me oriented before moving on to better sources including the Encyclopedia Virginia, JSTOR Global Plants, the Catesby Commemorative Trust, The Royal Society, and the University of North Carolina Libraries. During the course of this research, I learned some interesting details about the people who created these items and their places in botanical and zoological history.
Flora Virginica, 1762
Flora Virginica(QK191 .G86 1739a) is a precursor to Flora of Virginia. They are actually named the same – just in different languages. The original Flora Virginica was published in two parts, the first in 1739 and the second in 1743. Then, a combined edition was published in 1762. All three editions were published in Latin by Lugduni Bavatorum publishers in Leiden, Zuid Holland, Nederland. They all list Johannes Fredericus Gronovius as the person who classified the specimens and wrote the book. They also list John Clayton as the observer and collector of the plants. This attribution has led to much debate over the correct citation of authorship. Many, using modern standards, have claimed that Gronovius plagiarized Clayton’s work. Scholarship as recent as 2004 has addressed the authorship issue directly and concluded that Clayton likely did not have much chance of being published without the help of someone like Gronovius and the actions of the latter would not have been deemed plagiarism using the standards of the 1700’s. Proper credit for authorship, then, is probably to list them both.
Amidst the issues of authorship, I discovered some interesting things about the men who created what was the only comprehensive listing of Virginia plants for over 200 years. John Clayton was born in England in 1694/5 and came to America sometime before 1720. His move to the Virginia Colony was likely due to his father’s position as Attorney General of Virginia. Clayton was an amateur botanist. He was a plantation owner, a slave owner, and Clerk of Gloucester County, VA for more than 50 years. He liked to travel around the state and collect specimens of flora and fauna.
Gronovius was a Dutch naturalist and friend of Carl Linnaeus. He built up a reputation in the Netherlands as a botanist and had his own herbarium. He was considered a professional and had standing within the scientific world to publish.As part of Clayton’s amateur botanical work, he compiled for Gronovius a catalog of various plants using Linnaean classification. This catalog is what Gronovius eventually turned into Flora Virginica.
So what about Mark Catesby?
Mark Catesby was born in 1683 and was an English naturalist and a Fellow of the Royal Society of London. He first traveled to Virginia in 1712, accompanying his sister and her children. Over the next seven years (1712-1719), he collected and sent to England a variety of botanical specimens from Virginia and Jamaica before returning to England himself. During this time, at least one ornithological specimen and several plants were provided to Catesby by John Clayton. That one connection is why the Catesby prints are often displayed with Flora Virginica … that one connection and the fact that the Catesby prints include gorgeous illustrations of many of the plants mentioned in Flora Virginica.
After a few years in England, where he became a member of The Royal Society, Catesby returned to America to begin work on his grand project. He spent the next 20 years compiling specimens, teaching himself to illustrate them, and writing his Natural History of Carolina, Florida, and the Bahama Islands (QH41 .C28 1754).
He wrote and illustrated the book(s) entirely himself, publishing them in eleven sections totaling more than 220 hand-colored etchings. In order to finance all this work, Catesby sold subscriptions, offering the book in sections of 20 plates every four months. The first section was published in 1729 and he presented Her Majesty Queen Caroline with her copy in person. Following Catesby’s death in 1749, his work was republished twice, in 1754 and 1771. Catesby’s work was done before Linnaean classification was developed but the 1771 reprint includes a catalog of the Linnaean names for the flora and fauna depicted in the book.
While Flora Virginica is recognized as the most comprehensive listing of Virginia plants from 1739 to 2012, Catesby’s History of Carolina, Florida, and the Bahama Islands is known as the earliest published work illustrating and describing North American flora and Fauna. It was published almost 100 years before Audubon’s TheBirds of America (QL674 .A9 1827a).
Through the generous courtesy of the Flora of Virginia Project and the Garden Club of Virginia, we have an exhibit containing a 1762 original Flora Virginica, a 1946 reproduction Flora Virginica, and two Catesby prints from the 1771 reprinting: The Summer Red-Bird, The Western Plane Tree and The Red Start, The Black Walnut. This exhibit gives viewers a chance to appreciate the wonderful history of all of the items with an abbreviated version of the information presented here. If you’re in the area and want to see the exhibit in person, stop by Special Collections and take a look.
While you’re visiting, if you are interested in taking a look at a copy of Flora Virginica in person (reading Latin helps), Special Collections has one copy of the 1946 reproduction on site and two in remote storage(QK191 .G86 1739a). If you want to see the amazing Catesby illustrations in person, Special Collections has a copy of the 1754 reprintingof Natural History of Carolina, Florida, and the Bahama Islands (QH41 .C28 1754). As for the 2012 Flora of Virginia, Newman Library has two copies and Special Collections has one (QK191 .W43 2012). And, if you’re curious about Audubon’s The Birds of America(QL674 .A9 1827a), Special Collections has a 1985 issue of the double elephant folio in our reading room – it’s our only item with its own piece of furniture.
A full listing of events related to the Massey Herbarium Flora of Virginia exhibit is available atmasseyherbarium.org/fov.
Expressions of Remembrance: April 16th 10th anniversary exhibits
As part of Virginia Techs annual observance of its Day of Remembrance, condolence items and artifacts received by the university in the days that followed April 16, 2007, will be displayed at several locations across campus. The displays are among several “Expressions of Remembrance” that will be located in Newman Library, Squires Student Center, Moss Arts Center, and Holtzman Alumni Center; they are free and open to the public.
Each year, in observance of the Day of Remembrance, University Libraries at Virginia Tech displays materials from the April 16 Condolence Archives and invites the community to reflect and remember.
Below is a list and photos of exhibits all around campus. For more on each, please see the press release and the We Remember website.
Sending You All Our Love
The exhibit will include materials received from other colleges and universities, as well as some of the large white boards and signs created on the Drillfield the week of April 16, 2007. Additional items include flags, t-shirts, and condolence books, and a quilt from the Feminist Majority Leadership Alliance at State University of New York College at New Paltz. The exhibit title came from one of the quilt squares, each of which was made by a SUNY student.
This display can be seen April 8-16 in the Old Dominion Ball Room in Squires Student Center.
Remembering Those Lost
Artifacts include flags flown over the Statue of Liberty and at Tikrit Air Academy in Iraq by soldiers during Operation Iraqi Freedom; Farham Aboussalis painting Ceremonial Eternity; Carol Davis 32 hand-decorated eggs; Marilyn Rogges painting of a child releasing a red balloon; a KoKeshi Doll from the U.S. Navy Fleet Activities, Yokosuka, Japan; and some of the paper cranes received.
This display will be held April 8-16 at Newman Library Special Collections (first floor). Part of the exhibit is in the windows of Special Collections onto the cafe, open during library hours. A second portion of the exhibit is inside Special Collections, open Monday-Friday, 8am-5pm.
A Community of Learners, a Legacy of Achievement
A selection of books will be displayed to honor of the students and faculty lost on April 16, 2007.
This display will be held April 8-16 at Newman Library Learning Commons.
Communities of Caring
A digital exhibit featuring community expressions of support from the April 16 Condolence Archives.
This display is available online at http://digitalsc.lib.vt.edu/exhibits/show/april16/introduction.
April 16 Condolence Archive display
Items include cards and letters written to police and first responders; a display of the badges of police units who came to help Virginia Tech; Cheryl Thompsons painting, Remember the 32; condolence books; quilted squares from Union Village United Methodist Church; black marble laserworks by David Cunningham, and April 17th Hokies United by Miss Prices second grade class from Riverlawn Elementary, Fairlawn, Virginia.
This display will be held April 12-May 3 at the Holtzman Alumni Center.
A quiet, contemplative space for remembrance and reflection, this display will include prayer flags from the Virginia Tech Graduate Arts Council, Hillel, Living Buddhism, and Unitarian Universalist Congregation of the New River Valley and photographs from the community.
This display will be held April 12-16 at the Miles C. Horton Jr. Gallery and Sherwood P. Quillen 71 Reception Gallery in Moss Arts Center.