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Drawings by Charlotte Perkins Gilman
This collection of drawings from Gilman's personal collection explore themes of depression, death and motherhood. Although Gilman never officially published these works, her personal drawings offer an insight into her mind that many other, more edited works, cannot. Given that these drawings have no official context, one can read their own interpretations into each one.
Untitled Photograph of Women Factory Workers Attending Sunday Mass After Overnight Shift, Buffalo, New York
This 1943 photograph by Marjory Collins shows women factory workers attending morning mass in Buffalo, New York, immediately after completing the overnight third shift. They sit and stand in the dim interior of a church, their coats are still on, and their scarves are tied tightly around their heads. These suggest exhaustion and the cold of early morning. This photograph shows a moment of transition between industrial labor and religious service, making clear how wartime work schedules shaped daily life for women employed in defense industries.
Interpretation Note
Collins' photograph offers a counter-narrative to the polished images of wartime labor circulated by the Office of War Information. Instead of depicting heroic productivity, this photograph shows fatigue, ordinariness, and the effort to maintain community and spiritual continuity amid punishing hours. The women's quiet postures echo Kate Eichhorn's point that some of the most revealing traces of women's history appear in the ordinary moments and materials that official narratives tend to ignore. In that sense, the photograph functions much like the feminist archives Eichhorn describes, because it shifts attention to lives usually kept at the margins and shows that even everyday acts can speak volumes about the pressures women faced. Ultimately, Collins' photograph reminds us that women's work in defense plants was a patriotic duty, but it was also a grueling cycle that reshaped home life, religious practice, and whatever small pockets of rest remained.
Interpretation Note
Collins' photograph offers a counter-narrative to the polished images of wartime labor circulated by the Office of War Information. Instead of depicting heroic productivity, this photograph shows fatigue, ordinariness, and the effort to maintain community and spiritual continuity amid punishing hours. The women's quiet postures echo Kate Eichhorn's point that some of the most revealing traces of women's history appear in the ordinary moments and materials that official narratives tend to ignore. In that sense, the photograph functions much like the feminist archives Eichhorn describes, because it shifts attention to lives usually kept at the margins and shows that even everyday acts can speak volumes about the pressures women faced. Ultimately, Collins' photograph reminds us that women's work in defense plants was a patriotic duty, but it was also a grueling cycle that reshaped home life, religious practice, and whatever small pockets of rest remained.
THE ACADEMY MUSEUM WELCOMES SACHEEN LITTLEFEATHER FOR AN EVENING OF CONVERSATION, HEALING, AND CELEBRATION ON SEPTEMBER 17
A press release and letter published by the Academy Museum of Motion Pictures announcing an evening with Sacheen Littlefeather to reconcile and heal from her past mistreatment at the Academy Awards. The letter officially apologizes for her experience at the 1973 Academy Awards ceremony, and acknowledges her important role in film history. The content of the letter is included below:
June 18, 2022
Dear Sacheen Littlefeather,
I write to you today a letter that has been a long time coming on behalf of the Academy of Motion Picture Arts and Sciences, with humble acknowledgment of your experience at the 45th Academy Awards.
As you stood on the Oscars stage in 1973 to not accept the Oscar on behalf of Marlon Brando, in recognition of the misrepresentation and mistreatment of Native American people by the film industry, you made a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.
The abuse you endured because of this statement was unwarranted and unjustified. The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.
We cannot realize the Academy's mission to "inspire imagination and connect the world through cinema" without a commitment to facilitating the broadest representation and inclusion reflective of our diverse global population.
Today, nearly 50 years later, and with the guidance of the Academy’s Indigenous Alliance, we are firm in our commitment to ensuring indigenous voices—the original storytellers—are visible, respected contributors to the global film community. We are dedicated to fostering a more inclusive, respectful industry that leverages a balance of art and activism to be a driving force for progress.
We hope you receive this letter in the spirit of reconciliation and as recognition of your essential role in our journey as an organization. You are forever respectfully engrained in our history.
With warmest regards,
David Rubin
President, Academy of Motion Picture Arts and Sciences
June 18, 2022
Dear Sacheen Littlefeather,
I write to you today a letter that has been a long time coming on behalf of the Academy of Motion Picture Arts and Sciences, with humble acknowledgment of your experience at the 45th Academy Awards.
As you stood on the Oscars stage in 1973 to not accept the Oscar on behalf of Marlon Brando, in recognition of the misrepresentation and mistreatment of Native American people by the film industry, you made a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.
The abuse you endured because of this statement was unwarranted and unjustified. The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.
We cannot realize the Academy's mission to "inspire imagination and connect the world through cinema" without a commitment to facilitating the broadest representation and inclusion reflective of our diverse global population.
Today, nearly 50 years later, and with the guidance of the Academy’s Indigenous Alliance, we are firm in our commitment to ensuring indigenous voices—the original storytellers—are visible, respected contributors to the global film community. We are dedicated to fostering a more inclusive, respectful industry that leverages a balance of art and activism to be a driving force for progress.
We hope you receive this letter in the spirit of reconciliation and as recognition of your essential role in our journey as an organization. You are forever respectfully engrained in our history.
With warmest regards,
David Rubin
President, Academy of Motion Picture Arts and Sciences
"On the comparative liability of males and females to insanity"
This except from a medical book from the mid 19th century explores the idea of insanity as a uniquely feminine problem. Jarvis explores the idea that the female body is prone to insanity much more than their male counterparts. Rhetoric such as this medical book provided grounds for courts and doctors to see women as inherently insane without any evidence, leading to misdiagnoses and forced hospitalizations.
Jam poster 1
A poster for a November 2024 student-led contact improv jam (open dance) at Carleton College
Jam poster 2
A poster advertising a contact improv jam (open dance) at Carleton College in February 2025
Jam poster 3
A poster advertising a contact improv jam (open dance) at Carleton College in November 2025
Contact Sheet
Artist's Statement:
"Contact Sheet includes photos of one of the first student-led contact improvisation jams at Carleton College; it is for Physical Education course #150, Contact Improvisation. The author intended to convey the feeling of the dance through photo editing, assembly, and the use of risograph printing techniques."
8 unnumbered pages: color illustrations; approx. 5x7 inches
"Contact Sheet includes photos of one of the first student-led contact improvisation jams at Carleton College; it is for Physical Education course #150, Contact Improvisation. The author intended to convey the feeling of the dance through photo editing, assembly, and the use of risograph printing techniques."
8 unnumbered pages: color illustrations; approx. 5x7 inches
Philosophy and the Seven Liberal Arts
This is an item that includes a creative depiction of Seven Liberal Arts and their place in education.
Little Spinner in Globe Cotton Mill, Augusta, Georgia. Overseer said she was regularly employed.
This photograph, taken by Lewis Hine for the National Child Labor Committee in 1909, shows a young girl standing between two long rows of spinning machinery in the Globe Cotton Mill in Augusta, Georgia. She is wearing a work apron and boots, her clothes are dusty with cotton lint, and her posture is still as she faces the camera. The mill floor is littered with fibers, and the narrow aisle shows the confinement of the workspace. The original caption records the overseer's remark that she was "regularly employed," which presents her labor as routine within the operations of the mill.
Interpretation Note
Hine's photograph serves as both image and argument. At first glance, it simply shows a young girl at work in a factory, while the caption that says "regularly employed" uses institutional language to make child labor exploitation look routine and even respectable. By quoting the overseer's own words, Hine lets the justification speak for itself, exposing how employers normalize the practice of child labor, even as the photograph itself contradicts every syllable of that claim. This tension fits with Marlene Manoff's point that archival labels and descriptions affect how evidence is read, so the wording attached to the photograph carries as much weight as the photograph itself. It also echoes Saidiya Hartman's observation on the archive of marginalized people, as the girl's experiences and circumstances are absent, replaced by the overseer's authoritative framing. By placing the photograph and the caption together, Hine's photograph invites us to ask who gets to define labor, whose narratives are preserved (and whose are excluded), and how those decisions that were made long ago still influence the way future viewers understand women's and children's industrial labor in industrial settings.
Interpretation Note
Hine's photograph serves as both image and argument. At first glance, it simply shows a young girl at work in a factory, while the caption that says "regularly employed" uses institutional language to make child labor exploitation look routine and even respectable. By quoting the overseer's own words, Hine lets the justification speak for itself, exposing how employers normalize the practice of child labor, even as the photograph itself contradicts every syllable of that claim. This tension fits with Marlene Manoff's point that archival labels and descriptions affect how evidence is read, so the wording attached to the photograph carries as much weight as the photograph itself. It also echoes Saidiya Hartman's observation on the archive of marginalized people, as the girl's experiences and circumstances are absent, replaced by the overseer's authoritative framing. By placing the photograph and the caption together, Hine's photograph invites us to ask who gets to define labor, whose narratives are preserved (and whose are excluded), and how those decisions that were made long ago still influence the way future viewers understand women's and children's industrial labor in industrial settings.