Dr lonnie bunch biography graphic organizer
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Three years in the making, the traveling exhibition gathered more than 300 objects from the collections of both the National Museum of American History and the National Air and Space Museum for a two month show in Chiba, Japan during the summer of 1994.26Under Bunch’s direction, Smithsonian’s America emphasized that the “essence of American history and culture” was “cultural diversity,” one of America’s “greatest strengths.” Avoiding a merely celebratory display of American history, the exhibition made room for “admitting mistakes” where necessary and “explaining what’s been done to come to grips” with those mistakes.27<
This emphasis on presenting a more complex vision of American progress made the Japan exhibition the intellectual grandchild of the Smithsonian’s landmark American Bicentennial exhibition, A Nation of Nations.Sonia Sotomayor
27. When he returned to the Smithsonian, the NMAH and its predecessors had been collecting for over a century. Mae Jemison
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SIA. Return to text
24SIA, Accession 05-298, Smithsonian Institution, Office of Public Affairs, The Torch, No. 94-5 (May 1994), 1,4. Return to text
7 Kimberly Robinson, “Lonnie Bunch Interview Background Paper AAM Interview Project,” 1. Betsy Ross
25. SIA; Robinson, “Lonnie Bunch Interview Background Paper,” 8.
Walking home from the market, Leanna was once accosted by several hooded Klansman. After all, those voices had been silenced by those past and present who’ve profited from that silence. Among the stores slated for closure was the location in Greensboro, North Carolina, the site of one of the civil rights movement’s pivotal moments. In Bunch’s own words, his leadership of the Chicago History Museum taught him “how to lead” and how “to be an effective fundraiser” and gave him the opportunity to “put his ideas to the test.”
Most importantly, though his work in Chicago made him very happy and “nurtured [his] soul,” Bunch explained that the Smithsonian’s new museum “nurture[d] the soul of [his] ancestors.”37
Even before the museum had a physical location, Bunch launched a series of high-profile traveling exhibitions to generate support for the museum; the influence of his philosophy can be seen in its inaugural exhibition.
whenever I tire of the work or the politics, I look at her and realize that if she could go on, so can I. Whenever I look to her and I realize that because she did not quit, I have opportunities that she could never imagine.” 2
Additionally, the image of this woman, whose name has been lost to history, is the perfect symbol for a career dedicated to giving “voice to the voiceless” and exploring how “people who didn’t have the fullest access to the American dream persevere[d] and remain[ed] optimistic in the worst of times.” 3
In giving voice to the voiceless, Bunch understood that museums would have to embrace controversy.
Two in particular are notable for demonstrating Bunch’s commitment to using African American history to complicate the traditional narratives of American progress. While he enjoyed the work, Bunch’s first stint at the Smithsonian did not last long. Return to text
13 Resume, “Lonnie G. Bunch III.” Lonnie G.
Bunch Research File. their collections [are] to present a variety of perspectives, they must recruit ... His grandfather told him that the picture was so old that these children were all probably dead. It was this masterstroke that marked Bunch as a rising star in the museum world. Lonnie G. Bunch Research File. SIA.Return to text
34 Finding Aid.
Teen Chicago Oral History Project Records, 2001-2004. Well, I did what I always did, I made a beeline for the lunch counter, and I ran in and I sat down, and suddenly these white hands picked me up and moved me over to the colored section, which was the standing section. Billie Jean King
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