Thoughtful Library

“After some 30 years of [analyzing teaching], I have concluded that classroom teaching—particularly at the elementary and secondary levels—is perhaps the most complex, most challenging, and most demanding, subtle, nuanced, and frightening activity that our species has ever invented. In fact, when I compared the complexity of teaching with that much more highly rewarded profession, “doing medicine,” I concluded that the only time medicine even approaches the complexity of an average day of classroom teaching is in an emergency room during a natural disaster. When 30 patients want your attention at the same time, only then do you approach the complexity of the average classroom on an average day.”

—   The wisdom of practice: essays on teaching, learning and learning to teach Lee S. Shulman (via luckyseventeen)

(via rubberglue)


Sanford Biggers - Blossom, 2007

(via studiomuseum)


Stunning images of graduates from the Women’s Medical College of Pennsylvania (now Drexel University). The University was founded in 1850 and is one of the first institutions in the world to train women in medicine and offer them an M.D degree.

Thanks to Drexel University for maintaining the archives:


VIDEO: James Baldwin - The Price of the Ticket -



Contemporary Art Week!

S. Ross Browne

Series: Self-Evident Truths

from the artist’s statement:

These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.

I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.

The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.

The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?

This person is amazing!

(via fuckyeahinterracialromancenovels)

Henry Aaron and the recent unpleasantness


Baseball legend Hank Aaron angered a certain breed of American this week when he suggested that racism was still a thing, but that the outfits had changed. The comments led to wave after wave of hate mail, none of which we’ll be publishing here, that essentially proved his point. Atlanta Journal-Constitution writer Jay Bookman tries to speak some sense about the whole thing: 

And if you’ll excuse an effort to inject nuance into a topic where it is too rarely seen, it’s that matter of perspective that is key to all this. Even if you don’t agree with everything Aaron says, you ought to at least wonder what the man is seeing that you don’t.

To put it in baseball terms, think of it as a tag play at second. Watching from your seat in the left-field stands, or even at home on TV, the runner was clearly tagged out. Yet the umpire, looking at it from a different perspective, calls him safe.  And it isn’t until you see it from a third perspective, that of the center-field camera and replayed over and over again in slow motion, that you realize that the umpire was right and you were wrong.

Or maybe he was wrong and you’re right.

In real life, we don’t have a centerfield camera to decide the question. We don’t have a means to determine which perspective is accurate, and which is skewed. But the point is that you don’t have to agree with Aaron’s point of view, fully or in part, to know that his perspective is at least worth hearing and considering. He has seen things in ways that others have not.

Another worthy take on the issue—this one by the WaPo’s Jonathan Capehart—can be found over this way.

(via acceber74)

Diversity Is Not Enough: Race, Power, Publishing

Excellent, thought-provoking piece by speculative fiction author Daniel J. Older, with marvelous illustrations by Julie Dillon.


Easter Sunday (top-bottom)

  1. Harlem 1947 by Henri Cartier Bresson
  2. Harlem 1947 by Henri Cartier Bresson
  3. Harlem 1943 by Weegee
  4. South Side, Chicago 1941 by Russell Lee
  5. South Side, Chicago 1941 by Russell Lee
  6. Harlem 1947 by Henri Cartier Bresson
  7. South Side, Chicago,. 1941 by Edwin Rosskam
  8. Harlem 1940 by Weegee
  9. Harlem 1955 by William Klein
  10. Harlem (W. 117th St. and Seventh Ave) 1939

(via thisisntmyrealhair)

Deadpan (Steve McQueen, 1997)

Turner Prize-winning artist Steve McQueen—now best known for his feature films, Hunger, Shame, and 12 Years a Slave—put himself in the line of fire in Deadpan (1997), a restaging of Buster Keaton’s falling house gag from Steamboat Bill Jr. McQueen does more than remake the stunt; his presence as a black man transforms the work into a commentary on race relations and the precariousness of the black experience. 

"Damage Control: How Artists Destroy to Create Art"

(Source: adrowningwoman, via lhaaff)


The National Digital Stewardship Residency (NDSR) Programs in Boston and New York, with generous funding from the Institute of Museum and Library Services (IMLS), have been working to develop the next generation of digital stewardship professionals by funding nine-month hands-on residencies for recent master’s degree recipients to complete digital stewardship projects at host institutions in the Boston and New York City area. Applications for residencies running from September 2014 through May 2015 are now being accepted.

Those chosen for the NDSR program will:
· Participate in a nine-month paid residency at a Boston or New York City institution working on a specific digital stewardship project with a mentor and with full host institution support;

· Attend advanced training, lectures, and events on digital stewardship conducted by digital preservation professionals and program staff;

· Have access to mentoring and career development services through the program and through the involvement in NDSR of notable digital preservation professionals;

· Have access to professional development funding, the opportunity to present at national conferences, and the chance to help contribute to and shape a national model for post-master’s residency programs.

For more information, go to:
· for Boston area residencies;

· for New York area residencies.

Applications are due Friday, May 30, 2014.