Trail to the Voting Booth: An Exploration of Political Ephemera shows the variety of ways Americans talk about politics and the way these discussion manifest in physical objects, including pamphlets, song sheets, cartoons, buttons, campaign signs, bumper stickers, costume jewelry, housewares, clothing, toys and more. In the moment, they allow people to proudly display their support for causes and candidates, and later serve as a memory of elections past.
Drawn from the Museums’ African American art collection, this exhibition brings together a range of artworks that relate to the Civil Rights Movement in the United States.
It is the first in a series of online exhibitions highlighting materials from Museums Collections. Organized by theme or medium, these focused exhibitions provide a bite-sized introduction to the collections.
James McNeill Whistler (1834-1903), the expatriate American artist, had a formidable presence. He was known for his consummate skill as a painter and printmaker, for his radical art theories, for his wit—and for his combative persona that repeatedly led his friendships to devolve into feuds. Whistler’s forceful personality was at odds with the delicacy of his art. His iconic signature of a graceful butterfly with a barbed stinger embodies this contradiction.
The year 2020 marks the centennial of the 19th Amendment to the U.S. Constitution—one hundred years of “Votes for Women.” This exhibition—“Votes for Delaware Women”—examines Delaware’s part in the long struggle to secure voting rights for all women.
The exhibition highlights the many ways in which Delaware’s suffragists—and anti-suffragists—pursued their goals and got their messages out. On display are books, banners, buttons, maps, music, postcards, photographs, and even a cookbook. Combined, they weave together the many strands in Delaware’s suffrage story.
In contemporary Cuba, posters are a major part of visual culture. Following the 1959 Revolution, the newly formed government created the Instituto Cubano del Arte e Industria Cinematográficos (Cuban Institute of Cinematic Art and Industry or ICAIC). The first cultural institution conceived by the new government, ICAIC screened both Cuban and international films for the benefit of all Cubans. As a result of the cultural policy adopted by ICAIC, poster designers were able to experiment with visual vocabulary in order to articulate a complex visual language. The Cuban government’s initiatives made the country a recognized center for both cinema and poster design.