{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Photographs.","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Photographs.\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_ftpphoto","type":"collection","attributes":{"title":"Federal Theatre Project photograph collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto#creator","type":"document_value","attributes":{"value":"Federal Theatre Project (U.S.)","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto#abstract_or_scope","type":"document_value","attributes":{"value":"This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto"}},{"id":"vifgm_scenesfrombehindthewall","type":"collection","attributes":{"title":"\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_scenesfrombehindthewall#creator","type":"document_value","attributes":{"value":"Chichester, Page","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_scenesfrombehindthewall#abstract_or_scope","type":"document_value","attributes":{"value":"Framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_scenesfrombehindthewall#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_scenesfrombehindthewall","ead_ssi":"vifgm_scenesfrombehindthewall","_root_":"vifgm_scenesfrombehindthewall","_nest_parent_":"vifgm_scenesfrombehindthewall","ead_source_url_ssi":"data/gmu/scenesfrombehindthewall.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/scenesfrombehindthewall.html","title_ssm":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection"],"title_tesim":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection"],"unitdate_ssm":["1989-2012"],"unitdate_inclusive_ssm":["1989-2012"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0235"],"text":["C0235","\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection","Photographs.","There are no access restrictions.","This collection is divided into two series.","Series 1: Prints, 1989-1990 (Box 1-3) Series 2: Documentation, 1989-2012 (Box 4)","Page Chichester was born in New Jersey in 1959 and grew up in rural Culpeper, Virginia. He earned a bachelor's degree in English and a master's degree from the University of Missouri School of Journalism. After a two-year stint as photo editor at a wildlife-conservation magazine in Washington, D.C., he spent five years in West Germany, where he worked as a freelance photographer. He returned to Washington, D.C., in 1990 to work as a photojournalist for the National Audubon Society's television productions department, photographing four books including one on the African elephant. He then became editor of Virginia magazine, formerly Virginia Southwest. He freelanced in Roanoke, Virginia, for several years before moving to Bonn, Germany, with his family. The tides of change have swept them to Berlin, and today, Chichester is part of the subcontracted photography crew on various cruise ships. Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.","Helmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. His work has been published in Stern, Die Welt, and other major magazines and newspapers, and he has taught photography for several years in high schools in and around Bonn. Brinkmann has traveled extensively through the former East Germany since 1989.","Biographical information is from the exhibition catalog: Chichester, Page and Helmut Brinkmann. Scenes from Behind the Wall: Images of East Germany, 1989/90. Floyd, Virginia: The Jacksonville Center for the Arts, 2012.","Processing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013.","Special Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the   that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification.","This collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","Series 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).","Series 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title.","There are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries.","Framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","George Mason University. Libraries. Special Collections \u0026 Archives","Chichester, Page","Brinkmann, Helmut.","Chichester, Page.","English\n\t\t \n\t\tand\n\t\t German\n\t\t"],"unitid_tesim":["C0235"],"normalized_title_ssm":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection"],"collection_title_tesim":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection"],"collection_ssim":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Chichester, Page"],"creator_ssim":["Chichester, Page"],"creator_persname_ssim":["Chichester, Page"],"creators_ssim":["Chichester, Page"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"acqinfo_ssim":["Purchased by Special Collections and Archives on June 21, 2013."],"access_subjects_ssim":["Photographs."],"access_subjects_ssm":["Photographs."],"has_online_content_ssim":["true"],"extent_ssm":["20 linear feet (4 boxes)"],"extent_tesim":["20 linear feet (4 boxes)"],"date_range_isim":[1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is divided into two series.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Prints, 1989-1990 (Box 1-3)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Documentation, 1989-2012 (Box 4)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is divided into two series.","Series 1: Prints, 1989-1990 (Box 1-3) Series 2: Documentation, 1989-2012 (Box 4)"],"bioghist_html_tesm":["\u003cp\u003ePage Chichester was born in New Jersey in 1959 and grew up in rural Culpeper, Virginia. He earned a bachelor's degree in English and a master's degree from the University of Missouri School of Journalism. After a two-year stint as photo editor at a wildlife-conservation magazine in Washington, D.C., he spent five years in West Germany, where he worked as a freelance photographer. He returned to Washington, D.C., in 1990 to work as a photojournalist for the National Audubon Society's television productions department, photographing four books including one on the African elephant. He then became editor of Virginia magazine, formerly Virginia Southwest. He freelanced in Roanoke, Virginia, for several years before moving to Bonn, Germany, with his family. The tides of change have swept them to Berlin, and today, Chichester is part of the subcontracted photography crew on various cruise ships. Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.\u003c/p\u003e","\u003cp\u003eHelmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. His work has been published in Stern, Die Welt, and other major magazines and newspapers, and he has taught photography for several years in high schools in and around Bonn. Brinkmann has traveled extensively through the former East Germany since 1989.\u003c/p\u003e","\u003cp\u003eBiographical information is from the exhibition catalog: Chichester, Page and Helmut Brinkmann. Scenes from Behind the Wall: Images of East Germany, 1989/90. Floyd, Virginia: The Jacksonville Center for the Arts, 2012.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Page Chichester was born in New Jersey in 1959 and grew up in rural Culpeper, Virginia. He earned a bachelor's degree in English and a master's degree from the University of Missouri School of Journalism. After a two-year stint as photo editor at a wildlife-conservation magazine in Washington, D.C., he spent five years in West Germany, where he worked as a freelance photographer. He returned to Washington, D.C., in 1990 to work as a photojournalist for the National Audubon Society's television productions department, photographing four books including one on the African elephant. He then became editor of Virginia magazine, formerly Virginia Southwest. He freelanced in Roanoke, Virginia, for several years before moving to Bonn, Germany, with his family. The tides of change have swept them to Berlin, and today, Chichester is part of the subcontracted photography crew on various cruise ships. Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.","Helmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. His work has been published in Stern, Die Welt, and other major magazines and newspapers, and he has taught photography for several years in high schools in and around Bonn. Brinkmann has traveled extensively through the former East Germany since 1989.","Biographical information is from the exhibition catalog: Chichester, Page and Helmut Brinkmann. Scenes from Behind the Wall: Images of East Germany, 1989/90. Floyd, Virginia: The Jacksonville Center for the Arts, 2012."],"prefercite_html_tesm":["\u003cp\u003e\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection, C0235, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection, C0235, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Kuratorium Unteilbares Deutschland (KUD) photograph collection\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/kud.html\"\u003e\u003c/extptr\u003e that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the   that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.\u003c/p\u003e","\u003cp\u003eSeries 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).\u003c/p\u003e","\u003cp\u003eSeries 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","Series 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).","Series 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eFramed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.\u003c/abstract\u003e"],"abstract_tesim":["Framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Chichester, Page","Brinkmann, Helmut.","Chichester, Page."],"corpname_ssim":["George Mason University. Libraries. 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He earned a bachelor's degree in English and a master's degree from the University of Missouri School of Journalism. After a two-year stint as photo editor at a wildlife-conservation magazine in Washington, D.C., he spent five years in West Germany, where he worked as a freelance photographer. He returned to Washington, D.C., in 1990 to work as a photojournalist for the National Audubon Society's television productions department, photographing four books including one on the African elephant. He then became editor of Virginia magazine, formerly Virginia Southwest. He freelanced in Roanoke, Virginia, for several years before moving to Bonn, Germany, with his family. The tides of change have swept them to Berlin, and today, Chichester is part of the subcontracted photography crew on various cruise ships. Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.","Helmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. His work has been published in Stern, Die Welt, and other major magazines and newspapers, and he has taught photography for several years in high schools in and around Bonn. Brinkmann has traveled extensively through the former East Germany since 1989.","Biographical information is from the exhibition catalog: Chichester, Page and Helmut Brinkmann. Scenes from Behind the Wall: Images of East Germany, 1989/90. Floyd, Virginia: The Jacksonville Center for the Arts, 2012.","Processing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013.","Special Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the   that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification.","This collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","Series 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).","Series 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title.","There are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries.","Framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","George Mason University. Libraries. 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Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.\u003c/p\u003e","\u003cp\u003eHelmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. 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He returned to Washington, D.C., in 1990 to work as a photojournalist for the National Audubon Society's television productions department, photographing four books including one on the African elephant. He then became editor of Virginia magazine, formerly Virginia Southwest. He freelanced in Roanoke, Virginia, for several years before moving to Bonn, Germany, with his family. The tides of change have swept them to Berlin, and today, Chichester is part of the subcontracted photography crew on various cruise ships. Chichester's photography has appeared in museum and galleries in Athens, Berlin, Bonn, Washington, D.C., and Virginia, as well as in state, regional, and national publications.","Helmut Brinkmann was born in 1951 in Duisburg, part of the coal-mining region (Ruhr Pot) of the former West Germany. He has been a professional photographer since 1979. In addition to his commercial, portrait, and architectural photography, he has exhibited numerous projects in Duisburg, Hamburg, Bonn, Greece, and Spain. In 1972 Brinkmann won the prestigious Bundesfotopreis (National Photo Award). A series of his hand-colored postcards was published as a book, Verwandlungen (Changes), by one of Germany's foremost art publishers, DuMont Verlag. He was among the photographers chosen for the 1991 exhibit Five Bonn Photographers, is a member of the Bundesverband Bildender Künstler (National Assn. of Artists) and is listed in the Bonn Artists Directory. His work has been published in Stern, Die Welt, and other major magazines and newspapers, and he has taught photography for several years in high schools in and around Bonn. Brinkmann has traveled extensively through the former East Germany since 1989.","Biographical information is from the exhibition catalog: Chichester, Page and Helmut Brinkmann. Scenes from Behind the Wall: Images of East Germany, 1989/90. Floyd, Virginia: The Jacksonville Center for the Arts, 2012."],"prefercite_html_tesm":["\u003cp\u003e\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection, C0235, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection, C0235, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Greta Kuriger Suiter in August 2013. EAD markup completed by Greta Kuriger Suiter in August 2013."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the \u003cextptr type=\"simple\" title=\"Kuratorium Unteilbares Deutschland (KUD) photograph collection\" show=\"new\" href=\"http://sca.gmu.edu/finding_aids/kud.html\"\u003e\u003c/extptr\u003e that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds a large collection of posters that document the history of East Germany from the 1940s through the first elections in the 1990s. In addition, Special Collections and Archives also holds the   that consists of photographs that document the activities of the KUD, a West German organization that campaigned for reunification."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.\u003c/p\u003e","\u003cp\u003eSeries 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).\u003c/p\u003e","\u003cp\u003eSeries 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of 53 framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. Some of the locations the exhibit traveled to include: Roanoke College, Washington (DC) Center for Photography, Lynchburg Fine Arts Center, and the Armory Gallery at Virginia Tech University. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.","Series 1 includes the framed prints and exhibition labels and is in original order. All prints are black and white and framed (with frame 30x40 inches).","Series 2 consists of correspondence about exhibitions of the photographs, handwritten notes in German, German magazines, press clippings, and smaller prints and negatives. In addition to the catalog, photographs from the exhibit were published in KulturPolitik and FotoScene magazines in Germany, as well as various newspapers in Virginia. Among the documentary material that comes with the exhibit are copies of the German GEO and Stern special-editions on the fall of the wall from 1990, and a list of all the showplaces in Virginia. This series is arranged alphabetically by folder title."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection must be obtained from Special Collections and Archives, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref348\" label=\"Abstract\"\u003eFramed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012.\u003c/abstract\u003e"],"abstract_tesim":["Framed photographs and supporting documentation for the exhibit \"Scenes from Behind the Wall: Images of East Germany, 1989/90\" that was shown throughout Virginia as part of the Virginia Museum of Fine Arts Statewide Exhibition Program from 1995 through 2009. The exhibit was also shown at the Jacksonville Center for the Arts in Floyd, Virginia, in February 2012."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Chichester, Page","Brinkmann, Helmut.","Chichester, Page."],"corpname_ssim":["George Mason University. Libraries. 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