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Five-pointed star-shaped artwork with image of people and flags in center; also contains text
Artwork Used in a Grand Army of the Republic (G.A.R.) Hall in Bath, Maine, circa 1866 / THF119558


Following the end of the Civil War, numerous fraternal veterans’ societies were formed. These societies enabled veterans to socialize with individuals who had similar experiences and also allowed them to work towards similar goals.

Dr. Benjamin Franklin Stephenson formed the Grand Army of the Republic (G.A.R.) for all honorably discharged Union veterans on April 6, 1866, in Decatur, Illinois, and it quickly grew to encompass ten states and the District of Columbia. The G.A.R.’s growth was astronomical, peaking in the 1890s with nearly 400,000 members spread out through almost 9,000 posts in all 50 states, as well as a few in Canada, one in Mexico, and one in Peru. These posts were organized into departments, which were typically divided by state, but could include multiple states depending on the population of Union veterans in the area.

Metal and fabric badge, with cross-shaped piece containing text underneath a fabric arch
Woman's Relief Corps (W.R.C.) Conductor Badge, 1883-1920 / THF254030

Metal (?) and fabric badge with red, white, and blue stripes and intertwined letters
Daughters of Union Veterans of the Civil War Membership Badge, circa 1900 / THF254033

The tenets of the G.A.R. were “Fraternity, Charity, and Loyalty,” and are depicted in the seal of the G.A.R.  The fraternity aspect was met by fraternal gatherings such as meetings, as well as annual reunions known as encampments at the departmental and national level. Charity was demonstrated through fundraising for veterans’ issues, including welfare, medical assistance, and loans until work could be found, as well as opening soldiers’ and sailors’ homes and orphanages. Loyalty was demonstrated in several ways, including erecting monuments, preserving Civil War sites and relics, donating cannons and other relics to be displayed in parks and courthouses, and donating battle flags to museums. The G.A.R. was assisted in all of their work by their auxiliary organizations, known as the Allied Orders of the G.A.R.: the Women’s Relief Corps, Ladies of the Grand Army of the Republic, Sons of Union Veterans of the Civil War (SUVCW), the Auxiliary to the SUVCW, and the Daughters of Union Veterans of the Civil War—all of which are still active today.

Card with text, and two images of soldiers, one playing a bugle and the other a drum
THF623379

Additionally, the G.A.R. was instrumental in having the tradition of memorializing the dead and decorating their graves recognized as the federal holiday Memorial Day, formerly known as Decoration Day. From its origins in smaller, localized observances throughout the country, it gained national recognition after Commander-in-Chief General John A. Logan issued a proclamation on May 30, 1868. Programs like the one above detail the order of events of these celebrations, and some even detail how to appropriately contribute.

Large group of men and women posed in front of a large wooden building
Members of the Grand Army of the Republic (G.A.R.) Visiting Mount Vernon, September 21, 1892 / THF254036

The annual and national encampments were not just big events for the G.A.R. and the Allied Orders of the G.A.R, but also for the railroads and cities in which the encampments were held. Railroad companies, such as the Maine Central Railroad Company, advertised the encampments and offered round-trip tickets to attendees. A typical schedule of events for encampments included speeches, business meetings where delegates voted on resolutions and other organizational business, receptions for the G.A.R. and the Allied Orders, parades reminiscent of the Grand Review of the Armies following the end of the Civil War, campfire activities, concerts, outings to nature or historic points of interest, and reunions of other groups, including regimental and other veteran organizations. Attendees to the 1892 Washington, D.C., National Encampment were able to visit Mount Vernon.

Metal pin with gold laurel and silver letters "GAR"
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Badge with metal eagle and top and star with image and text at bottom; small U.S. flag in middle
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Members would show up in their uniforms, which often included hats with G.A.R. insignia, as well as their G.A.R. membership badge, an example of which can be seen above. Membership badges denoted the wearer’s rank at the time they mustered out and would also show what rank within the G.A.R. they held; Commander-in-Chief badges would be substantially more ornate.

In addition to their membership badges, attendees would also represent their home state, posts, or departments with ribbons or badges stating where they were from. An example is the Forsyth Post badge used at the 1908 Toledo, Ohio National Encampment. These ribbon badges are all unique to the host city—for instance, Detroit’s national encampments’ badges featured an image of Antoine de la Mothe Cadillac sailing to Detroit, signifying the city’s founding in 1701; national encampments held in California typically featured a grizzly bear, like their state flag; Denver’s 1905 National Encampment featured a cowboy on a bucking bronco; and Holland, Michigan’s 1904 and 1910 Annual Encampments featured wooden shoes and windmills.

Blue ribbon containing text; topped with red, white, and blue ribbon with round metal piece containing text
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Red, white, and blue ribbon behind gold medallion with intricate pattern; also contains text
THF254031

Badges help tell the story of the G.A.R., and make these events more relatable to modern audiences—who hasn’t bought a souvenir on vacation or at an event? Beginning in 1882, The G.A.R. produced official souvenir badges for purchase in addition to the membership badges. Some of these souvenirs were made from captured Confederate cannons authorized for destruction by acts of Congress. In the case of the G.A.R., badges were so important that in the 50th Congress, 1st Session, a bill (Report No. 784) was passed to “prevent the unlawful wearing of the badge or insignia of the Grand Army of the Republic or other soldier organizations.”

Watching the highly decorated G.A.R. members march in the parade was a sight that drew many thousands of spectators wherever the encampments were held. The members would have likely marched in their G.A.R. uniforms, which included a double-breasted, dark blue coat with G.A.R. buttons and a hat (either kepi or slouch felt) with G.A.R. insignia. Other uniform pieces, such as leather gauntlets with G.A.R. insignia, are known to exist, but they do not appear to be commonplace. As they had done in the Grand Review of the Armies, they would march with their flags. In 2013, one such flag was conserved by The Henry Ford, as documented in this blog post: “Conserving a G.A.R. Parade Flag.”

Open city square containing large monument and many people gathered around
Grand Army of the Republic Parade at Campus Martius, Detroit, Michigan, 1881 / THF623825

As the G.A.R. members aged, the number capable of walking an entire parade route dwindled, but luckily for them, the rise of the automobile ensured that they could still participate. For veterans who did not take their personal automobiles to the encampments, calls were sent out to round up enough vehicles to provide each veteran with a car for the parade. In the case of the 1920 Indianapolis National Encampment, John B. Orman, Automobile Committee Chairman, sought to get enough automobiles for all of the veterans requiring them and said “The ‘boys’ of ’61 are no longer boys. Today the distance from the monument erected to their memory to Sixteenth Street is longer than the red road from Sumter to Appomattox.” Local dealerships loaned their cars for the parade, much like today’s parade sponsors sending cars or attaching their names to floats in parades.

At the 83rd and final G.A.R. National Encampment, held in Indianapolis, Indiana, in 1949, six of the last sixteen G.A.R. members not only made the trip to Indianapolis but were able to “march” in the final parade—thanks to the automobile.

Joseph Clovese, one of the six to have participated in the final parade, can be seen with fellow G.A.R. members adorned with their G.A.R. badges on his Find a Grave page. Clovese was born into slavery on a plantation at St. Bernard Parish, Louisiana, in 1844. He joined the Union Army during the siege of Vicksburg as a drummer boy, and then later became an infantryman in the 2nd Missouri Colored Infantry Regiment (later the 65th U.S. Colored Troops Regiment). Following the war, Clovese worked on riverboats on the Mississippi River and assisted with the construction of the first telegraph line between New Orleans, Louisiana, and Biloxi, Mississippi.

Clovese received a citation and medal at the “Blue and Gray” reunion, the 75th anniversary of the Battle of Gettysburg in 1938. At age 104, he moved to Pontiac, Michigan, with his niece, and, according to his obituary in the New York Times, he would take daily walks and was hardly ever ill. He died July 13, 1951, in the Dearborn Veterans Hospital at the age of 107. More information about his long and fascinating life, as well as additional photos of him wearing his G.A.R. badges, can be seen in his Fold3 Gallery.

The G.A.R. officially dissolved in 1956 with the death of the last member, Albert Woolson, but the spirit of the organization lives on through the Allied Orders of the G.A.R.

For additional looks at the G.A.R., check out the other G.A.R. artifacts in our Digital Collections and read a past blog post, “Fraternity, Charity, Loyalty: Remembering the Grand Army of the Republic.”


Laura Myles is Collections Specialist at The Henry Ford.

philanthropy, holidays, Civil War, African American history, veterans, Grand Army of the Republic, by Laura Myles

Corner of room with chairs, windows, and doors
Interior of Henry Ford’s Private Railroad Car, “Fair Lane,” June 22, 1921 / THF148015


Beginning in 1921, Henry and Clara Ford used their own railroad car, the Fair Lane, to travel in privacy. Clara Ford designed the interior in consultation with Sidney Houghton, an interior designer based in London. The interior guaranteed a comfortable trip for the Fords, their family, and others who accompanied them on more than 400 trips between 1921 and 1942.

The view out the railcar windows often featured the landscape between Dearborn, Michigan, and Richmond Hill, Georgia, located near Savannah. The Fords purchased more than 85,000 acres in the area, starting in 1925, remaking it into their southern retreat.

On at least three occasions, Henry Ford might have looked out that Fair Lane window, observing changes in the landscape between Richmond Hill and a siding (or short track near the main railroad tracks, where engines and cars can be parked when not in use) near Tuskegee, Alabama. Henry Ford took the railcar to the Tuskegee Institute in 1938, 1941, and 1942, and Clara accompanied Henry at least twice.

Two men, one Black and one white, pose in front of a car
Henry Ford and George Washington Carver, Tuskegee, Alabama, March 1938 / THF213839

Henry first met with George Washington Carver and Austin W. Curtis at Tuskegee on March 11, 1938. A small entourage accompanied him, including Ford’s personal secretary, Frank Campsall, and Wilbur M. Donaldson, a recent graduate of Ford’s school in Greenfield Village and student of engineering at Ford Motor Company.

Group of men walk on a sidewalk between grass and trees
George Washington Carver and Henry Ford on the Tuskegee Institute Campus, 1938. / THF213773

Photographs show these men viewing exhibits in the Carver Museum, installed at the time on the third floor of the library building on the Tuskegee campus (though it would soon move).

Five men in suits look at items some of them are holding in their hands
Austin Curtis, George Washington Carver, Henry Ford, Wilbur Donaldson, and Frank Campsall Inspect Peanut Oil, Tuskegee Institute, March 1938 / THF 213794

Man gestures to a table covered in glass jars while other men look on
Frank Campsall, Austin Curtis, Henry Ford, and George Washington Carver at Tuskegee Institute, March 1938 / THF214101

Clara accompanied Henry on her first trip to Tuskegee Institute, in the comfort of the Fair Lane, in March 1941. Tuskegee president F.D. Patterson met them at the railway siding in Chehaw, Alabama, and drove them to Tuskegee. While Henry visited with Carver, Clara received a tour of the girls’ industrial building and the home economics department.

During this visit, the Fords helped dedicate the George W. Carver Museum, which had moved to a new space on campus. The relocated museum and the Carver laboratory both occupied the rehabilitated Laundry Building, next to Dorothy Hall, where Carver lived. A bust of Carver—sculpted by Steffen Thomas, installed on a pink marble slab, and dedicated in June 1937—stood outside this building.

The dedication included a ceremony that featured Clara and Henry Ford inscribing their names into a block of concrete seeded with plastic car parts. The Chicago Defender, one of the nation’s most influential Black newspapers, reported on the visit in its March 22, 1941, issue. That story itemized the car parts, all made from soybeans and soy fiber, that were incorporated—including a glove compartment door, distributor cap, gearshift knob, and horn button. These items symbolized an interest shared between Carver and Ford: seeking new uses for agricultural commodities.

Person wearing hat sits, head tipped down toward a wooden crate, while other people look on
Clara Ford, face obscured by her hat, inscribes her name in a block of concrete during the dedication of George Washington Carver Museum, March 1941, Tuskegee Institute, Alabama. Others in the photograph, left to right: George Washington Carver; Carrie J. Gleed, director of the Home Economics Department; Catherine Elizabeth Moton Patterson, daughter of Robert R. Moton (the second Tuskegee president) and wife of Frederick Douglass Patterson (the third Tuskegee president); Dr. Frederick Douglass Patterson; Austin W. Curtis, Jr.; an unidentified Tuskegee student who assisted with the ceremony; and Henry Ford. / THF213788

Man sits at crate while other people look on
Henry Ford inscribing his name in a block of cement during the dedication of George Washington Carver Museum, Tuskegee Institute, March 1941 / THF213790

After the dedication, the Fords ate lunch in the dining room at Dorothy Hall, the building where Carver had his apartment, and toured the veterans’ hospital. They then returned to the Fair Lane railcar and headed for the main rail line in Atlanta for the rest of their journey north.

President Patterson directed a thank you letter to Henry Ford, dated March 14, 1941. In this letter, he commended Clara Ford for her “graciousness” and “her genuine interest in arts and crafts for women, particularly the weaving, [which] was a source of great encouragement to the members of that department.”

The last visit the Fords made to Tuskegee occurred in March 1942. The Fair Lane switched off at Chehaw, where Austin W. Curtis, Jr., met the Fords and drove them to Tuskegee via the grounds of the U.S. Veterans’ Hospital. Catherine Patterson and Clara Ford toured the Home Economics building and the work rooms where faculty taught women’s industries. Clara rode in the elevator that Henry had funded and had installed in Dorothy Hall in 1941, at a cost of $1,542.73, to ease Carver’s climb up the stairs to his apartment.

The Fords dined on a special luncheon menu featuring sandwiches with wild vegetable filling, prepared from one of Carver’s recipes. They topped the meal off with a layer cake made from powdered sweet potato, pecans, and peanuts that Carver prepared.

Tuskegee shared the Fords’ itinerary with Black newspapers, and the April 20, 1942, issue of Atlanta Daily World carried the news, “Carver Serves Ford New Food Products.” They concluded, in the tradition of social columns at the time, by describing what Henry and Clara Ford wore during the visit. “Mrs. Ford wore a black dress, black hat and gloves and a red cape with self-embroidery. Mr. Ford wore as usual an inconspicuously tailored business suit.”

Dr. Patterson wrote to Henry Ford on March 23, 1942, extending his regrets for not being at Tuskegee to greet the Fords. Patterson also reiterated thanks for “Mrs. Ford’s interest in Tuskegee Institute”—“The people in the School of Home Economics are always delighted and greatly encouraged with the interest she takes in the weaving and self-help project in the department.”

The Fords sold the Fair Lane in 1942. After many more miles on the rails with new owners over the next few decades, the Fair Lane came home to The Henry Ford. Extensive restoration returned its appearance to that envisioned by Clara Ford and implemented to ensure comfort for Henry and Clara and their traveling companions. Now the view from those windows features other artifacts on the floor of the Henry Ford Museum of American Innovation, in place of the varied landscapes, including those around the Tuskegee Institute, traveled by the Fords.

Rail car interior containing chairs, doors, windows, and arched ceiling
A view of the interior of Henry and Clara Ford’s private railroad car, the “Fair Lane,” constructed by the Pullman Company in 1921, restored by The Henry Ford to that era of elegance, and displayed in Henry Ford Museum of American Innovation. / THF186264


Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford.

Ford family, women's history, travel, railroads, Henry Ford Museum, Henry Ford, George Washington Carver, education, Clara Ford, by Debra A. Reid, African American history

Aerial shot of museum exhibit featuring cars, along with other artifacts and graphic panels with images and text

Driven to Win: Racing in America presented by General Motors.

The Henry Ford’s newest exhibition, Driven to Win: Racing in America presented by General Motors, opened to the public on March 27. It’s been a thrill to see visitors experiencing and enjoying the show after so many years of planning.

Along with all of that planning, we did some serious collecting as well. Visitors to Driven to Win will see more than 250 artifacts from all eras of American racing. Several of those pieces are newly acquired, specifically for the show.

Black and white athletic shoes
Shoes worn by Ken Block in Gymkhana Five. Block co-founded DC Shoes in 1994. / THF179739

The most obvious new addition is the 2012 Ford Fiesta driven by Ken Block in Gymkhana Five: Ultimate Urban Playground; San Francisco. The car checked some important boxes for us. It represented one of America’s hottest current motorsport stars, of course, but it also gave us our first rally car. The Fiesta wasn’t just for show—Block drove it in multiple competitions, including the 2012 X Games in Los Angeles, where he took second place (one of five podium finishes Block took in the X Games series). At the same time, we collected several accessories worn by Block, including a helmet, a racing suit, gloves, sunglasses, and a pair of shoes. The footwear is by DC Shoes, the apparel company that Block co-founded with Damon Way in 1994.

Racing toys and games are prominently represented in Driven to Win. We have several vintage slot cars and die cast models, but I was excited to add a 1:64 scale model of Brittany Force’s 2019 Top Fuel car. Force is one of NHRA’s biggest current stars, and an inspiration to a new generation of fans.

Silver box with text and screenshot from video game of cars on a racetrack
Charmingly dated today, Pole Position’s graphics and gameplay were strikingly realistic in 1983. / THF176903

Many of those newer fans have lived their racing dreams through video games. We had a copy of Atari’s pioneering Indy 500 cartridge already, but I was determined to add newer, more influential titles to our holdings. While Indy 500 didn’t share much with its namesake race apart from the general premise of cars competing on an oval track, Atari’s Pole Position brought a new degree of realism to racing video games. Pole Position was a top arcade hit in 1982, and the home version, released the following year, retained the full-color landscapes that made the game so lifelike at the time. I was excited to acquire a copy that not only included the original box, but also a hype sticker reading “Arcade Hit of the Year!”

Another game that made the jump from arcade to living room was Daytona USA, released in 1995 for the short-lived Sega Saturn. Rather than open-wheel racing, Daytona USA based its gameplay on stock car competition. The arcade version was notable for permitting up to eight machines to be linked together, allowing multiple players to compete with one another.

More recently, the Forza series set a new standard for racing video games. The initial title, Forza Motorsport, featured more than 200 cars and encouraged people to customize their vehicles to improve performance or appearance. Online connectivity allowed Forza Motorsport players to compete with others not just in the same room, but around the world.

One of my favorite new acquisitions is a photograph showing a young racer, Basil “Jug” Menard, posing with his race car. There’s something charming in the way young Menard poses with his Ford, a big smile on his face and hands at his hips like a superhero. His car looks worse for the wear, with plenty of dents and an “85” rather hastily stenciled on the door, but this young driver is clearly proud of it. Menard represents the “weekend warrior” who works a regular job during the week, but takes on the world at the local dirt track each weekend.

Wooden case open to reveal a number of silver drafting tools inside, set in black velvet
When we talk about a racer’s tools, we don’t just mean cars and helmets. / THF167207

Drivers may get most of the glory, but they’re only the most visible part of the large team behind any race car. There are folks working for each win everywhere from pit lane to the business office. Engineers are a crucial part of that group, whether they work for the racing team itself, the car manufacturer, or a supplier. In the early 20th century, Leo Goossen was among the most successful racing engineers in the United States. Alongside designer Harry Miller, Goossen developed cars and engines that won the Indianapolis 500 a total of 14 times from 1922 to 1938. We had the great fortune to acquire a set of drafting tools used by Goossen in his work. The donor of those tools grew up with Goossen as his neighbor. As a boy, the donor often talked about cars and racing with Goossen. The engineer passed the tools on to the boy as a gift.

We could not mount a serious exhibit on motorsport without talking about safety. Into the 1970s, auto racing was a frightfully dangerous enterprise. Legendary driver Mario Andretti commented on the risk in the early years of his career during our 2017 interview with him. Andretti recalled that during the drivers’ meeting at the beginning of each season, he’d look around the room and wonder who wouldn’t survive to the end of the year.

Improved helmets went a long way in reducing deaths and injuries. Open-face, hard-shell helmets were common on race tracks by the late 1950s, but it wasn’t until 1968 that driver Dan Gurney introduced the motocross-style full-face helmet to auto racing. Some drivers initially chided Gurney for being overly cautious—but they soon came to appreciate the protection from flying debris. Mr. Gurney kindly donated to us one of the full-face helmets he used in occasional races after his formal retirement from competitive driving in 1970.

And speaking of Dan Gurney, he famously co-drove the Ford Mark IV to victory with A.J. Foyt at Le Mans in 1967. We have a treasure trove of photographs from that race, and of course we have the Mark IV itself, but we recently added something particularly special: the trophy Ford Motor Company received for the victory. To our knowledge, Driven to Win marks the first time this trophy has been on public view in decades. Personally, I think the prize’s long absence is a key part of the story. Ford went to Le Mans to beat Ferrari. After doing so for a second time in 1967, Ford shut down its Le Mans program, having met its goal and made its point. All the racing world had marveled at those back-to-back wins—Ford didn’t need to show off a trophy to prove what it had done!

White glove in black frame with gold plaque containing text below it
Janet Guthrie wore this glove at the 1977 Indy 500—when she became the first woman to compete in the Greatest Spectacle in Racing. / THF166385

For most of its history, professional auto racing has been dominated by white men. Women and people of color have fought discrimination and intimidation in the sport for decades. It is important to include those stories in Driven to Win—and in The Henry Ford’s collections. We documented Janet Guthrie’s groundbreaking run at the 1977 Indianapolis 500, when she became the first woman to compete in America’s most celebrated race, with a glove she wore during the event. I quite like the fact that the glove had been framed with a plaque, a gesture that underlined the significance of Guthrie’s achievement. We’ve displayed the glove in the exhibit still inside that frame. More recently, Danica Patrick followed Guthrie’s footsteps at Indy. Patrick also competed for several years in NASCAR, and in 2013 she became the first woman to earn the pole position at the Daytona 500. She kindly donated a pair of gloves that she wore in 2012, her inaugural Cup Series season.

Man in jumpsuit with short curly hair and mustache leans against back of race car, with other race cars, people, and equipment in the background
Wendell Scott, the first Black driver to compete full-time in NASCAR’s Cup Series, as photographed at Charlotte Motor Speedway in 1974. / THF147632

Wendell Scott broke NASCAR’s color barrier when he battled discrimination from officials and fans to become the first Black driver to win a Cup Series race. Scott earned the victory at Speedway Park in Jacksonville, Florida, in December 1963. We acquired a photo of Scott taken later in his career, at the 1972 World 600. Scott retired in 1973 after sustaining serious injuries in a crash at Talladega Superspeedway. In addition to acquiring the photo, we were fortunate to be able to borrow a 1966 Ford Galaxie driven by Scott during the 1967 and 1968 NASCAR seasons.

Wendell Scott’s impact on the sport is still felt. Current star Darrell “Bubba” Wallace is the first Black driver since Scott to race in the Cup Series full-time. Following the murder of George Floyd on May 25, 2020, Wallace joined other athletes from all sports in supporting the Black Lives Matter movement. He and his teammates at Richard Petty Motorsports created a special Black Lives Matter paint scheme for Wallace’s #43 Chevrolet Camaro, driven at Virginia’s Martinsville Speedway on June 10, 2020. We acquired a model of that car for the exhibit. The interlocked Black and white hands on the hood are a hopeful symbol at a difficult time.

Our collecting efforts did not end when Driven to Win opened. We continue to add important pieces to our holdings—most recently, items used by rising star Armani Williams in his stock car racing career. There will be more to come: more artifacts to collect, more stories to share, and more insights on the people and places that make American racing special.


Matt Anderson is Curator of Transportation at The Henry Ford.

#Behind The Scenes @ The Henry Ford, women's history, video games, toys and games, racing, race cars, race car drivers, Henry Ford Museum, engineering, Driven to Win, by Matt Anderson, African American history

What is your personal connection to The Henry Ford? For many, it’s the memories that have been made during visits to the museum and village. Others, it’s the stories told, artifacts observed, or the people who paved the way for future generations. For Linda Apsey, it was Thomas Alva Edison—his commitment to the utility industry, collaboration with Henry Ford, and future electrification of our society. For Carla Walker-Miller, it is the outreach that The Henry Ford is doing with Detroit Public Schools, the Rosa Parks Bus, and the story that sheds light on the importance of equality, diversity, and inclusion.

While each connection is different, they both share a common theme—access to education, history, and innovation for all, regardless of background or barrier. At this time in our institution’s history, we believe that both leaders will bring invaluable knowledge and perspective based on their experiences. These women are truly remarkable individuals who value our mission and will inspire others for generations to come.

Linda Apsey is currently the President and CEO of ITC Holdings Corp. and is responsible for the company’s strategic vision, business operations, and all subsidiaries. She has held many roles throughout her career that have shaped her into the successful businesswoman she is today. Before she was President and CEO, she served as Executive Vice President and Chief Unit Officer at ITC Holdings Corp.

Wood board with small parts and wires attached to it; tag with handwritten text sits next to the board
Linda Apsey is inspired by the stories The Henry Ford can tell with its collections related to Thomas Edison, including his patent model for the electrical distribution system. / THF154126

Apsey is most looking forward to Invention Convention Worldwide. “Invention Convention provides kids across the country with a space and place for imagination to come to life. And that is amazing to observe and be part of!” This program at The Henry Ford allows young minds to tap into their can-do spirit and engage with other students and professionals throughout the world. Invention Convention is one of the unique, educational programs and initiatives that The Henry Ford is using to emphasize the importance of learning and access to education. “THF has developed many exciting programs to tap into the energy, passion, and creative minds of our future generations through teaching, experimentation, and competitions, all of which provides opportunity, access, and collaboration for growing minds.”

Carla Walker-Miller is the founder and CEO of Walker-Miller Energy Services. She is a changemaker in the energy industry and strives to inspire those she encounters. Walker-Miller Energy Services is one of the largest energy waste reduction companies in the country founded and owned by an African American woman.

Walker-Miller is greatly inspired by the community outreach The Henry Ford (THF) is doing in metro Detroit, particularly Detroit Public Schools. “Like most people, I had no idea before I joined the board the amount of work this institution is doing and the commitment The Henry Ford has made in educating our children. The work THF is doing with Detroit Public Schools is so thoughtful and intentional and I’m amazed at the impact The Henry Ford is having.”

Interior of a bus with green bench seats
Carla Walker-Miller feels welcomed by the presence of the Rosa Parks Bus in Henry Ford Museum of American Innovation. / THF167250

Being able to inform and educate others about the many different stories and lessons we have learned throughout American history is very important. The Henry Ford is committed to telling the stories of the brave men and women who were the catalysts for change in racial equity. Carla Walker-Miller agrees that the acquisition of the Rosa Parks Bus in the early 2000s was a monumental step for The Henry Ford. “In my heart, that acquisition felt like an acknowledgement that Black history is American history. It may as well have been a bridge, because it felt like a welcome, like a personal invitation to visit. I will never forget the photo of President Barack Obama on that bus. It spoke to me and so many other people of many races.”

Linda Apsey and Carla Walker-Miller both agree that The Henry Ford is a place that is meant to be treasured. To our current donors who believe in the mission and value of The Henry Ford, thank you! For those who may be new to The Henry Ford and are still learning about the institution, we invite you to dive deeper into our mission. For Apsey, “Investing in THF is not only an investment in our rich industrial history of innovation and automation, but more importantly an opportunity to invest in the hearts, souls, and minds of future generations. THF is a world-class institution whose history has just begun!” To Carla Walker-Miller, “The Henry Ford offers a warm introduction to this country’s history. They are committed to making the institution inclusive and accessible to all and to say, ‘Everyone is welcome here.’” We are very lucky to have these two passionate executives help take The Henry Ford to new levels and reach the hearts and minds of future generations.


Caroline Heise is Annual Fund Specialist at The Henry Ford.

Michigan, Detroit, education, entrepreneurship, Invention Convention Worldwide, The Henry Ford Effect, by Caroline Heise, African American history, women's history, #Behind The Scenes @ The Henry Ford

Smiling African American man with arms crossed, wearing white jumpsuit with a number of patches and logos
Armani Williams. (Photo courtesy Team Armani Racing.)


Grosse Pointe, Michigan, native Armani Williams is at the start of a promising career in auto racing. He competes in multiple professional truck and car racing series, and is honing his skills with an eye toward joining NASCAR’s Camping World Truck Series—one of NASCAR’s three national series and among the highest professional racing series in the United States. This is an impressive goal for any young driver, but especially so for Mr. Williams, who is diagnosed with autism spectrum disorder.

Autism generally is characterized by difficulty in focusing on and processing multiple stimuli and tasks simultaneously. “Focusing on and processing multiple stimuli and tasks simultaneously” is also a pretty fair description of what a competitive driver does behind the wheel, which makes Williams’s achievements all the more impressive.

White, blue, and black helmet with "graffiti" style text and pattern
Helmet worn by Armani Williams, Scorpion EXO. / THF186734

Like most racing drivers, Armani Williams developed his love for motorsport as a young boy. That passion was fostered by toy cars, televised NASCAR races, and a memorable trip to see NASCAR’s Brickyard 400 at the Indianapolis Motor Speedway in 2010. Eager to get behind the wheel himself, Williams began racing go-karts at age eight. He then advanced to Bandolero racing, a type of motorsport in which young drivers pilot scaled-down versions of stock cars capable of speeds better than 70 miles per hour.

Williams made his competition debut in Automobile Racing Club of America (ARCA) Pro Series pickup truck races in 2016. He set ARCA records by becoming the highest-finishing African American driver in a series race, and by posting the best finish for an African American driver in the ARCA Truck Pro Series championship.

White jumpsuit with red panel under each arm and black cuffs and shoulders; also contains text and logos
Racing suit worn by Armani Williams, Alpinestars. / THF186736

NASCAR invited Armani Williams to compete in its Drive for Diversity combined tryouts in 2016 and 2017. Established in 2004, the Drive for Diversity program is intended to create a more inclusive culture in NASCAR on the track, in the pits, and in the stands. The program provides training and support to people of color and women pursuing careers as drivers, crew members, sponsors, or team owners.

In 2017, Williams made his debut in the Pinty’s Series, NASCAR’s Canadian stock car racing series. To date, he has earned eighteen wins and two championships in the Pinty’s Series. In 2018, Williams joined the K&N Pro Series East. This American NASCAR series serves as an important development pipeline, building and supplying new talent headed toward NASCAR’s upper levels. Williams earned his first K&N Pro Series top-ten finish at New Hampshire Motor Speedway, where he finished ninth on September 22, 2018. Williams earned another top-ten finish—this time in ARCA’s Menards Series for stock cars—on August 9, 2020, at Michigan International Speedway, his “hometown” track. By competing in the Pinty’s and K&N Pro racing series, Armani Williams became the first driver in any NASCAR series with openly-diagnosed autism.

Race car in dark and light blue with a pattern of puzzle pieces, much text, and many logos
Race 4 Autism car driven by Armani Williams. (Photo courtesy Team Armani Racing.)

Throughout his growing career, Armani Williams has used his platform in racing to raise autism awareness. He established his Armani Williams Race 4 Autism Foundation in 2015. He also covered one of his race cars with a special Race 4 Autism paint scheme featuring the jigsaw puzzle motif that is widely used as a symbol for autism spectrum disorder.

Blue sneakers with blue laces and a black patch containing an extended letter "A" and a star on the outside
Racing shoes worn by Armani Williams, Alpinestars. / THF186733

Mr. Williams recently donated pieces of his equipment to The Henry Ford. They include a helmet, a racing suit, and a pair of shoes used by him while racing in the ARCA Truck Pro Series. We are delighted to add these artifacts to the museum’s racing collections, and we look forward to incorporating some of them into our newest exhibit, Driven to Win: Racing in America Presented by General Motors. We also look forward to following Armani Williams’s competitive driving career. He’s already made history—and he’s just getting started.


Matt Anderson is Curator of Transportation at The Henry Ford.

cars, race cars, African American history, Henry Ford Museum, Driven to Win, race car drivers, racing, by Matt Anderson, Michigan

Looking to add some adrenaline to your next virtual meeting? Try the new backgrounds below, taken from Driven to Win: Racing in America, presented by General Motors. These images feature some of the exhibition’s iconic race cars, including the 1965 Goldenrod and the 1967 Ford Mark IV.

If you want even more background options, you can download any of the images of our artifacts from our Digital Collections. Our racing-related Digital Collections include more than 37,000 racing photographs, 400 three-dimensional artifacts (including race cars!), and nearly 300 programs, sketches, clippings, and other documents. Beyond racing, this collection of backgrounds showcases some views from Henry Ford Museum of American Innovation, Greenfield Village, and the Ford Rouge Factory Tour.

These links will give you instructions to set any of these images as your background on Zoom or Microsoft Teams.

Continue Reading

race car drivers, African American history, Mark IV, photographs, Driven to Win, Henry Ford Museum, cars, by Bruce Wilson, by Ellice Engdahl, by Matt Anderson, race cars, racing, technology, COVID 19 impact

Portrait of Black man with mustache wearing jacket and tie
George Washington Carver's Graduation Photo from Iowa Agricultural College and Model Farm (now Iowa State University), 1893 /
THF214111

George Washington Carver and Food


George Washington Carver (1860s–1943) was born near the end of the Civil War in Missouri. He studied plants his entire life, loved art and science, earned two agricultural science degrees from Iowa State University, and shared his knowledge broadly during his 45-year-career at Tuskegee Institute. He urged farm families to care for their land. Today we call this regenerative agriculture, but in Carver’s day it amounted to a revolutionary agricultural ethic.

Carver’s curiosity about plants fueled another revolution as he promoted hundreds of new uses for things that farm families could grow and eat. Cookbooks inspired him to adapt, and he worked with Tuskegee students to test and refine recipes. Then he compiled them in bulletins that stressed the connection between the environment and human health.

Today, our chefs at The Henry Ford are inspired by Carver’s dozens of bulletins and hundreds of recipes for chutneys, roast meats, salads, and peanut-topped sweet rolls.

Page with text and photo of men with baskets of peas
Some Possibilities of the Cow Pea in Macon County, Alabama, a 1910 bulletin by Carver featuring recipes. / THF213269

Developing Modern Carver-Inspired Recipes


Silver platter filled with meat in a brown sauce, topped with tomato slices and jalapeno peppers; text label behind dish
All Natural Pork with Peanut Plum Sauce at Plum Market Kitchen.

Carver is known to most of us for his many uses for the peanut. The Henry Ford’s culinary team looks to go beyond that, knowing that there is so much more to his legacy. Cultural appropriation is a hot topic in the world of food service today, but as a public history institution, we recognize that food is culture, and we are committed to authentic representation of a variety of food traditions. We are constantly collaborating and developing new recipes in consultation with our curators, who provide expert understanding and context. Part of the mission that drives our chefs is to understand the full story, and to help all our guests complete that experience as well.


Carver-Influenced Menu at Plum Market Kitchen


White ceramic dish containing a colorful salad and label with text, sitting on white and gray marble counter
Kale, Roasted Peanut, and Pickled Red Onion Salad with Molasses Vinaigrette at Plum Market Kitchen

Many aspects of Carver’s legacy are woven into a modern menu at Plum Market Kitchen at The Henry Ford. Today, the ideas of all-natural, healthy, and organic have become “tag lines” to sell you food. However, for Carver, and for Plum Market Kitchen, these have always been a driving ideology. Together, The Henry Ford and Plum Market Kitchen have taken inspiration from many of Carver’s recipes—always looking to honor and continue his legacy.

Digging Deeper into Carver’s Legacy at A Taste of History


Dishes containing chicken, greens, mixed vegetables, a green sauce, and a rolled cake
Spring offerings from George Washington Carver's recipes at A Taste of History.

While our new recipes at Plum Market Kitchen are inspired by Carver, with modern adaptations, our new offerings in A Taste of History are more directly drawn from Carver’s own recipes and the ingredients he used. Spring offerings at A Taste of History include the following—click through for recipes to try at home.



Learn More


Silver chafing dish containing large chunks of sweet potatoes topped with herbs, sitting on white and gray marble counter

Farmhouse Roasted Sweet Potatoes at Plum Market Kitchen.

If you’d like to further explore the life and work of George Washington Carver, issues surrounding food security, historic recipes, or dining at The Henry Ford, here are some additional resources across our website:

  • Take a closer look at Black empowerment through Black education with the microscope used by agricultural scientist George Washington Carver during his tenure at the Tuskegee Institute in Alabama.
  • Throughout Carver’s life, he balanced two interests and talents—the creative arts and the natural sciences. Find out how each influenced the other.
  • Learn more about the history of the George Washington Carver Cabin in Greenfield Village.
  • Explore artifacts, photographs, letters, and other items related to Carver in our Digital Collections.
  • Food security links nutritious food to individual and community health. Explore this concept through the collections of The Henry Ford in this blog post, which includes Carver’s work.
  • Find out what a food soldier is, as well as how food and nutrition relate to issues of institutional racism and equity for African Americans.
  • Explore historic cookbooks and recipes from our collections.
  • Get up-to-date information about dining options in Henry Ford Museum of American Innovation and Greenfield Village.



Eric Schilbe is Executive Sous Chef at The Henry Ford. Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. 

Greenfield Village, Henry Ford Museum, African American history, George Washington Carver, restaurants, by Eric Schilbe, by Debra A. Reid, recipes, food

Illustration of five people, backs to the viewer, arms around each other, looking at a cityscape with with USB cords plugged into buildings and wifi/Internet symbols
Illustration by Sylvia Pericles.

Welcome to the digital era. Now what?

In the fall of 2020, for the first time, an entire generation started school on a screen. As the new coronavirus abruptly cut many of us off from the world outside our homes, for those of us fortunate enough to enjoy digital communication tools, the Internet has become one of the most essential tools for surviving the COVID-19 pandemic. As sci-fi and scary as this may seem, there is also an opportunity here to transform—again—the Internet.

As COVID-19 continues to dramatically upend our lives, an ever-evolving digital world pushes us to rethink the purpose of the Internet and challenges us to re-create our digital and political lives as well as the Internet itself. The challenge is ensuring that all people will have the skills, knowledge and power to transform the Internet and shift its dependence on a commerce- and clickbait-driven economic model to become instead a universally guaranteed utility that serves people’s needs and allows creativity to flourish.

Societal Reflection


This challenge has been a long time coming. Before the COVID-19 pandemic, the Internet was on questionable ground. In early 2020, misinformation campaigns, privacy breaches, scams, and trolls proliferated online. When COVID-19 hit and the world was forced to shift the important tasks of daily life online, we saw (again) how digital inequalities persist—forcing poor and vulnerable communities to rely on low-speed connections and cheaper devices that can’t handle newer applications.

The Internet is a reflection of who we are as a society. We know that there are people who scam and bullies who perpetuate injustice. But there is also beauty, creativity, and brilliance. The more perspectives there are shaping this digital era, the more potential we have to tap the best parts of us and the world.

There is no silver bullet that will keep violence or small-mindedness at bay—online or off—but I know from 13 years of working on digital justice in Detroit that teaching technology is the first step toward decolonizing and democratizing it.

A City’s Story


Over the years, Detroit has faced many economic hardships, which has meant that digital access has too often taken a back seat. Bill Callahan, director of Connect Your Community 2.0, compiled data from the 2013 American Community Survey and found that Detroit ranked second for worst Internet connectivity in the United States.

Following that report, in 2017 the Quello Center of the Department of Media and Information at Michigan State University reported that 33% of Detroit households lacked an Internet connection, fixed or mobile. Yet the world had already moved online.

By 2011, many government agencies had transitioned away from physical spaces, making social services only accessible via the Internet. My colleagues and I at Allied Media Projects (a nonprofit that cultivates media strategies for a more just, collaborative world) understood that access to and control of media and technology would be necessary to ensure a more just future. As Detroiters, we needed to figure out how to create Internet access in a city that was flat broke and digitally redlined by commercial Internet providers. We also needed to address the fact that many Detroiters who had never before used digital systems had a steep learning curve ahead of them.

The question we asked our communities, and answered collectively, originated from and addressed Detroit’s unique reality: What can the role of media and technology be in restoring neighborhoods and creating new economies based on mutual aid?

Three people in full color on one side of a large cellphone use phones and tablets; one person on the other side in black-and-white with an Internet "loading" symbol
Illustration by Sylvia Pericles.

To answer this question, the concept and practice of community technology—a method of teaching and learning technology with the goals of building relationships and restoring neighborhoods—emerged. If we want to harness the potential of the digital future ahead of us, we need to reshape our current relationships with the digital world. We need to understand how it works, demand our rights within it, and be aware of how digital tools shape our relationships with each other and with the larger world. Ultimately, the goal of community technology is to remake the landscape of technological development and shift the power of technology from companies to communities. The place where this begins is by rethinking our digital literacy and tech education models.

Community technology is inspired by the citizenship schools of the Civil Rights movement. Founded by Esau Jenkins and Septima Clark on Johns Island, South Carolina, in the 1950s, citizenship schools taught adults how to read so that they could pass voter-registration literacy tests. But under the innocuous cover of adult-literacy classes, the schools actually taught participatory democracy and civil rights, community leadership and organizing, practical politics, and strategies and tactics of resistance and struggle.

I saw a through line from the issues that encouraged citizenship schools to emerge in the 1950s to the struggles that Detroit faced in the early 2000s. In the 21st century, communities with high-speed Internet access and high levels of digital literacy enjoyed a competitive advantage. The denial of these resources to low-income and communities of color compounded the existing inequality and further undermined social and economic welfare in those neighborhoods.

Like the citizenship schools, community technology embraces popular education, a movement-building model that creates spaces for communities to come together in order to analyze problems, collectively imagine solutions, and build the skills and knowledge required to implement visions. This educational model structures lessons around the goal of immediately solving the problem at hand. In the citizenship schools, lessons were planned around the goal of reading the U.S. Constitution. Along the way, participants developed the profound technical and social skills needed to solve the problem.

In 2008, when I first started teaching elders in Detroit how to use and understand the Internet, it was always hard to know where to start. There were so many things to do online. The first question I asked was: “What do you wish you could do with the Internet?” Oftentimes, folks wanted to be able to view images of their grandchildren that had been sent to their email, or they would want to communicate with loved ones across the seas. It would be nearly impossible for me to teach a class that attended to all of those individual needs while keeping everyone engaged.

I wondered: If I taught problem-solving rather than teaching technology, could I support the same elder who couldn’t view a digital photo of their grandchild to build and install Wi-Fi antennas and run an Internet service provider (ISP) in their neighborhood?

As impossible as that may sound, it worked. In 20 weeks, I saw former Luddites work with their neighbors to build wireless networks. This curriculum went on to shape the Equitable Internet Initiative, which has trained over 350 Digital Stewards throughout Detroit, New York, and Tennessee.

Man with dog waves to woman on bike; both have social post-like "speech bubbles" containing text
Illustration by Sylvia Pericles.

Digital Liberation


Over the eight years I ran the Digital Stewards Program, what I realized is that relevance can engage someone to learn, but curiosity is what cultivates the kind of lifelong learning that leads to liberation.

Citizenship schools remind me that liberation is not a product of having learned a skill but rather the continued ability to participate in and shape the world to meet your and your communities’ needs. Becoming a lifelong learner of technology—and aspiring constantly to use it for liberatory ends—is essential because technology is constantly changing.

Every software program I ever learned in college is now obsolete. To meaningfully participate in the digital era, we need to be able to adapt technology to meet our needs rather than change ourselves to adapt to new technologies.


In order to cultivate the agency and self-determination necessary to rescue this digital era from corporations and trolls, we will need to change how we as a society pass on knowledge and how—and for whom—we cultivate leadership and innovation. Too often, technological knowledge is presented as a pathway for individual advancement through participation in a digital economy that further consolidates power and wealth for corporations. During this time of physical isolation, how do we change the experience of being forced into endless video meetings and classrooms into something more like inhabiting and co-creating a digital commons? Can we create environments that allow people to engage with technology from a community context rather than as distanced individuals stuck staring at our screens?

The Internet’s culture is currently being shaped by corporations. Social media platforms, ISPs, and algorithms control our movements through almost all online space. Can we remake the Internet into a community that we can all inhabit, and move away from the metaphor of the Internet as an information superhighway? Perhaps we can begin to build the equivalent of sidewalks, public parks, and bike lanes.

As a generation faces an unprecedented year of school online, we would be wise to realize that this is an opportunity for all of us to learn together and become both more critical of how we engage technology and more aware of what we see is lacking. How do we want to form a community online, navigating, creating, and adapting online spaces for our collective survival?

Perhaps, unwanted though it is, the global pandemic can inspire us to finally create a digital world that is befitting of our time and presence there—and can inspire the justice, equality, and hope that our IRL world so badly needs right now. 


This post was adapted from an article by Diana J. Nucera that originally appeared in the January–May 2021 issue of The Henry Ford Magazine. Nucera, aka Mother Cyborg, is an artist, educator, and community organizer who explores innovative technology with communities most impacted by digital inequalities. Post edited by Puck Lo; illustrations by Sylvia Pericles.

Civil Rights, education, COVID 19 impact, Michigan, Detroit, women's history, African American history, technology, by Diana J. Nucera, The Henry Ford Magazine

Brown quilt with quilted text "NUDE IS NOT A COLOR" and image of brown-skinned woman in pale dress covered with smaller images of shirts in many shades Nude is Not a Color quilt, made by Hillary Goodwin, Rachael Dorr, and contributors from around the world, 2017. / THF185986

We often associate quilts with warmth and creativity. They can also make statements —serving as banners advocating a cause.

For nearly 200 years, American women have used needle and thread—once the only medium available to them—to express opinions, raise awareness, and advocate for social change. Women gathered in homes and in their communities to create quilts supporting causes like abolition, voting rights for women, and war relief.

This striking quilt, Nude is Not a Color, was created in 2017 by a worldwide community of women who gathered virtually to take a stand against racial bias. Learn more about the quilt below, and see it for yourself on exhibit as part of What We Wore in Henry Ford Museum of American Innovation, from March 11 through April 18, 2021.

The Quilt’s Story


In 2014, a clothing brand that sewist and blogger Bianca Springer of Pearland, Texas, had publicly supported introduced a new line of pale beige garments called Nude—a name long used by the fashion and cosmetic industries for products like hosiery and lipstick. Bianca took action. She contacted the company, thinking that the name was perhaps an oversight —reminding them that “nude” is a state of undress, not a color. And that the shade they chose as “nude” reflected only people of lighter skin tone—thus marginalizing people of color. Bianca’s perspective was repeatedly dismissed by company officials as overblown and irrelevant. She felt excluded and invisible.

Quiltmaker Hillary Goodwin of Auburn, California—also a fan of the company's clothing designs—wanted to stand in solidarity with her friend Bianca, and with other people of color. Together they decided to make a statement in fabric. Through Instagram, Hillary asked quilters to create a shirt block in whatever color fabric they felt best represented their skin tone, or that of their loved ones. Twenty-four quilters responded, from around the United States and around the world, including Canada, Brazil, the United Kingdom, Spain, the Netherlands, and Australia. Hillary then combined these shirt blocks with an image of Bianca wearing one of the “Nude” brand garments—creating this motif of a woman of color clothed in many shades of “nude.” Rachael Dorr of Bronxville, New York, then free-motion machine-quilted the completed quilt top.


More people became aware of the company’s bias and lent their voices to the issue, demanding change—and the brand eventually altered the name of the garment collection. A global community of women, willing to use their talent and voices to take a stand against racism, made a difference.

Quilt Contributors

 

*Designed and constructed by Hillary Goodwin, Auburn California

*Design assistance by Robin King, Auburn, California

*Paper-pieced shirt pattern designed by Carolyn Friedlander, Lake Wales, Florida

*Shirt blocks contributed by:

  • Carmen Alonso, Oviedo, Spain
  • Agnes Ang, Thousand Oaks, California
  • Berene Campbell, North Vancouver, British Columbia, Canada
  • Kirsty Cleverly, Sunshine Coast, Queensland, Australia
  • Silvana Pereira Coutinho, Brazil
  • Anne Eriksson, Egmond aan den Hoef, The Netherlands
  • Hillary Goodwin, Auburn, California
  • Rebecca Green, United Kingdom
  • Lynn Carson Harris, Chelsea, Michigan
  • Phoebe Adair Harris, Chelsea, Michigan
  • Krista Hennebury, North Vancouver, British Columbia, Canada
  • Sandra Johnson, Orange, California
  • Chawne Kimber, Easton, Pennsylvania
  • Tamara King, Portland, Oregon
  • Alexandra Ledgerwood, Kansas City, Missouri
  • Maite Macias, Oviedo, Spain
  • Nicole Neblett, Ann Arbor, Michigan
  • Krishma Patel, Carteret, New Jersey
  • Amy Vaughn Ready, Billings, Montana
  • Sonia Sanchez, Oviedo, Spain
  • Rachel Singh, Seattle, Washington
  • Michele Spirko, Amherst, Massachusetts
  • Bianca Springer, Pearland, Texas
  • Jess Ziegler, Adel, Iowa

*Free-motion machine quilted by Rachael Dorr, Bronxville, New York

 

Maker Stories

 

The makers each had a unique story to tell—below are some of their insights.

Light-skinned blonde woman in medical coat with stethoscope around neck stands in front of sign reading "EMERGENCY"
“Hearing of this encounter was an eye opener for me as a white woman. How would I feel if I had to explain to my daughter that her skin tone was not the “standard”? How many other ways does my white privilege benefit me without me acknowledging it? How could I help stand in solidarity with my friend?”  —Hillary Goodwin, Auburn, California

Dark-skinned woman with natural hair, glasses, and wearing a blue print shirt holds a fist to her chin and smiles
“The … collection featured a non-diverse group of models wearing beige fabrics classified as "nude.” My "nude" skin is not beige and the use of the term made it clear they did not have me in mind… the color … only fits the white majority, signals white supremacy and marginalizes people of color… With the conceptualization of the quilt, the issue went from commiseration and emotional processing of systemic and overt racism, to a broader statement of activism.”  —Bianca Springer, Pearland, Texas

Light-skinned woman with brown hair
“Although I considered myself a non-racist white person, I am not, of course, and I had never really given any thought to what it felt like to live life in a skin color that was not white. I credit my participation in the making of this quilt as the beginning of my slow and never-ending quest to be an anti-racist ally and to use the unearned privilege afforded me solely by my skin color to help bring some long overdue justice to this country.” —Tamara King, Portland, Oregon

Three hands of varying skin tones
"We are a group of three friends, we met through sewing… We live in Asturias, a small region in the north of Spain, that has traditionally been a land of emigrants … concepts such as "white privilege,” "black lives matter" … "segregation" ...  sound very foreign to us… Choosing the fabrics for our "shirts" was … a surprise. How different we all are! And then seeing all the "shirts" … Mind blowing!” —Sonia Sanchez (along with friends Carment Alonso and Maite Macias), Oviedo, Spain

Light-skinned woman with dark blonde hair wearing a blue shirt
“I hope that the message of the quilt reaches a lot of people and, at least, has them thinking.” —Kirsty Cleverly, Sunshine Coast, Queensland, Australia

Medium-dark-skinned woman wearing print top next to a trellis with large-leafed ivy
“I grew up in the South at a time when bare legs were scandalous and pantyhose were expected on any good young lady. The color options were black, suntan, and nude. It never quite made sense why nude was so white and why my own predominant skin tone was equated to someone's suntan. Why would white skin be the default in such a creative industry as fashion? Unfortunately the industry still adheres to these color naming schemes, which only serve to make sure I know that I am Other in this society.” —Chawne Kimber, Easton, Pennsylvania

Light-skinned woman with blonde hair and glasses, wearing blue top, in front of a colorful backdrop
Young woman with blonde hair and gray sleeveless top stands among flowers with grass and trees behind her
“My daughter, Phoebe, who was 10 at the time, often spent time in my sewing room with me and loved to help choose fabrics for my projects. I had Phoebe help choose a fabric that matched my skin tone. She noticed that HER skin matched a different color and wanted to contribute a block too. I loved that teachable moment we had in the sewing room… This moment contributed to her journey of looking at how people are the same, how people are different, representation, and fighting for social justice as she is now doing in her teens.” —Lynn Carson Harris, Chelsea, Michigan

Woman with medium-light skin and dark hair in a blue shirt
“I am familiar with the disappointment when undergarments, hosiery, foundation creams made in cream/pink aka “nude" never quite match my more yellow/olive skin tone. Working with quilting cotton solids in skin tones that ranged from rich chocolate to yellow undertones was liberating as it helped me be more comfortable challenging the current paragon for skin tone.” —Agnes Ang, Thousand Oaks, California

Light-skinned woman with blonde hair and glasses, wearing black sweater with small red hearts, in front of a red door
“I was born into a white, middle-class family in South Africa during the sixties. When you live in a life where everyone looks and lives like you do, you come to believe that this is normal life, however of course, this is far from the truth. Despite my family being liberal, I was blind as to the impact that my privilege had had on the black communities around us… I have become more aware of this burden of my privilege on others… The simple awareness of how our world is designed for some but not all, should inspire us to make equitable changes to provide dignity for all. Inclusivity and raising each other up makes us a strong human race.”  —Berene Campbell, North Vancouver, British Columbia, Canada

Medium-skinned woman with dark hair in front of white curtain with dark trim
“As an Asian Indian couple, a job move for my husband brought us to USA in 2001. Within a short time the unfortunate events of 9/11 occurred. Watching the morning news live, I saw the first tower being struck and a few minutes later the second! All telephone systems were down and I was not able to contact my husband… Fearing the worst possible harm to my husband, I panicked! I knocked on my neighbor’s door. We had shared the elevator a few times. All I wanted to know from her was, how far or near my husband’s workplace would be to the Twin Towers. She opened the door, took one look at me and yelled into my face, ‘Go back to wherever you came from, you [n-word]!’” —Krishma Patel, Carteret, New Jersey

Medium-skinned woman in black top
“As a new grad and a South Asian female when I first went to work in investment banking I needed stockings to go with my business attire. I would always find loads of "Nude" colored stockings but they never kind of matched my skin color. A few stores would only carry that color and I had to go find specific stores that sold the ones matched my complexion.” —Rachel Singh, Seattle, Washington

Medium-dark-skinned woman wearing pink top with bobbed curly black hair in front of a colorful backdrop
“People like me with brown skin are thus ignored and rendered invisible. And yet, we exist and we matter. I contributed to this quilt to join with others who also believe that nude is not a color. I contributed two shirts: one shirt is the color of honey and the other cocoa brown. These shirts represent each of my brown-skinned daughters. May they never feel invisible. May they always know that their color of nude is just as worthy and beautiful.” —Nicole Neblett, Ann Arbor, Michigan

Medium-light-skinned woman with brown hair in blue shirt and black blazer
“…people of color face a world frequently viewed only through the white lens, while white people have blinders on to that experience… I’m proud to be part of this project and hope it inspires white viewers to open their hearts and minds to the anti-racism work we must continue to do for the sake of all humanity.” —Michele Spirko, Amherst, Massachusetts


Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. All quilt contributor images from the collections of The Henry Ford.

fashion, African American history, art, by Jeanine Head Miller, women's history, making, quilts, What We Wore, Henry Ford Museum

The story of Frederick Douglass’s life is, at turns, tragic and awe-inspiring. He is a testament to the strength and ingenuity of the human spirit. The Henry Ford is fortunate to have some materials related to Douglass, as well as to the many areas of American history and culture he touched. What follows is an exploration of Frederick Douglass’s story through the lens of The Henry Ford’s collection, using our artifacts as touchpoints in Douglass’s life. 

Man with mustache and bushy hair sits in chair and looks at camera
This portrait of Douglass was taken circa 1860, around the time Abraham Lincoln was elected the 16th president of the United States. / THF210623

Early Life & Escape


Born into slavery in Talbot County, Maryland, Frederick Douglass was named Frederick Augustus Washington Bailey by his enslaved mother, Harriet Bailey. Tragically, Douglass only saw his mother a few times before her early death, when Douglass was just seven years old. Though he had few memories of his mother, he recalled her fondly and was proud to learn that she also knew how to read. He wrote that he was “quite willing, and even happy, to attribute any love of letters I possess” to his mother. Few enslaved people could read at that time—Douglass’s pride in his mother was certainly justified.

In 1826, Douglass was sent to Baltimore, Maryland, to live with the family of Hugh and Sophia Auld—extended family of his master, Aaron Anthony. This move to Baltimore would be transformative for Douglass. It not only exposed Douglass to the wider world, but was also where Douglass learned to read.

Douglass was initially taught to read by Sophia Auld, who considered him a bright pupil.  However, the lessons were put to a stop by Hugh Auld. It was not only illegal to teach an enslaved person to read, but Hugh also believed literacy would “ruin” Douglass as a slave. In a sense, Douglass agreed, as he came to understand the vast power of literacy. Douglass would later remark that “education and slavery are incompatible with each other.”

Douglass was determined to read. He “converted to teachers” some of the friendlier white children in the neighborhood. They showed him a school reader entitled The Columbian Orator, by Caleb Bingham, that he came to rely upon. In 1830, he purchased his own copy for 50 cents. The book—a collection of exceptional oration, poems, dialogue, and tips on the “art of eloquence”—became a great inspiration to Douglass. He carried it with him for many years to come.

Page with text
Page with text
The Columbian Orator” features a discussion between an enslaved person and their master which impressed Douglass. The enslaved person’s dialogue—referred to as “smart” by Douglass—resulted in the man’s unexpected emancipation. / THF621972, THF621973

As recollected in his first memoir, Narrative of the Life of Frederick Douglass, an American Slave, published in 1845, Douglass’s teenage years were some of his most challenging. He became viewed as a “troublemaker.” He was hired out to different farmers in the area, including one who had the reputation as an “effective slave breaker” and was especially cruel. Knowing that a larger world awaited and facing a terrible quality of life, Douglass attempted an escape in 1836. The escape failed and he was put in jail.  Douglass was surprised to be released. He was sent not to the deep South as he had feared, but instead, back to Baltimore and the family of Hugh Auld, to learn the trade of caulking at the shipyards. While working there, Douglass was subjected to the animosities of his white coworkers, who beat him mercilessly—and were never arrested for it because a white witness would not testify and the word of a Black man was not admissible. He continuously dreamt of escape.

Book standing on end, open to title page containing text
In this first memoir, Douglass provides great detail into his early life. However, because he was still a fugitive at the time of publication, he omitted details related to his escape. / THF8133

Recalling the ships on Chesapeake Bay, Douglass wrote:

“Those beautiful vessels, robed in purest white, so delightful to the eye of the freemen, were to me so many shrouded ghosts, to terrify and torment me with thoughts of my wretched condition. You are loosed from your moorings and are free; I am fast in my chains and am a slave! You move merrily before the gentle gale, and I sadly before the bloody whip!”

The ships’ freedom taunted him.

On September 3rd, 1838, Douglass courageously escaped slavery. Dressed as a sailor and using borrowed documents, he boarded a train, then a ferry, and yet another train to reach New York City—and freedom. His betrothed, a free Black woman named Anna Murray, followed, and soon after they were married. Frederick and Anna Murray Douglass moved to New Bedford, Massachusetts, with hopes that Frederick could find work as a caulker in the whaling port. Instead, he took on a variety of jobs—but, finally, the money he earned was fully his.

The American Anti-Slavery Society & the Abolitionists


While living in New Bedford, Douglass encountered William Lloyd Garrison’s abolitionist newspaper, The Liberator, for the first time. Douglass later wrote that the paper “took its place with me next to the Bible.” The Liberator introduced to Douglass the official abolitionist movement.

In August of 1841, Douglass attended an abolitionist convention. In an impromptu speech, he regaled the audience with stories of his enslaved past. William Lloyd Garrison and other leading abolitionists noticed—Douglass’s career as an abolitionist orator had begun. Douglass became a frequent speaker at meetings of the American Anti-Slavery Society. His personal story of life enslaved humanized the abolitionist movement for many Northerners—and eventually, the world.

In 1845, he published his first memoir, Narrative of the Life of Frederick Douglass, an American Slave. By 1847, it had already sold more than 11,000 copies! This would be followed by two more memoirs: My Bondage and Freedom in 1855 and Life and Times of Frederick Douglass in 1881.

Newspaper page with text and woodcut illustration as masthead
This copy of William Lloyd Garrison’s The Liberator was published on August 16, 1839—around the time when Douglass first encountered the paper. / THF621979

Women’s Suffrage


Douglass was also supportive of the women’s suffrage movement. He spoke at the famous Seneca Falls Convention of 1848 in support of women’s rights.  In fact, the motto of his newspaper, The North Star, was “Right is of no sex—Truth is of no color—God is the Father of us all, and we are brethren.”

While Douglass forcefully supported women’s suffrage, some of his actions put him at odds with others in the movement. He supported the adoption of the 14th amendment, ratified in 1868, which guaranteed equality to all citizens—which included Black and white males, including the formerly enslaved. It did not include women. He also supported adoption of the 15th amendment, ratified in 1870, which secured Black males the right to vote. Again, the amendment excluded women. Although a dedicated women’s rights activist, Douglass supported the adoption of the 14th and 15th amendments as he believed the matter to be “life or death” for Black people. This put him in disagreement with Elizabeth Cady Stanton and Susan B. Anthony, two of the leaders of the women’s suffrage movement, as well as his friends. Despite this disagreement about timing, Douglass would continue to lecture in support of women’s equality and suffrage until his death.

John Brown’s Raid


Douglass was well-acquainted with famous abolitionist leader John Brown, first meeting him in 1847 or 1848. Brown became known for leading a raid on the armory at Harpers Ferry, Virginia, in 1859, intending to create an “army of emancipation” to liberate enslaved people. Douglass and Brown spoke shortly before John Brown’s raid. Brown had hoped that Douglass would join him, but Douglass declined. He believed that Brown was “going into a perfect steel trap, and that once in he would not get out alive.”

Douglass was right. Brown was captured during the raid and was subsequently tried, convicted, and executed. Brown became seen as an anti-slavery martyr, as the below print shows. Henry David Thoreau remarked about him, “No man in America has ever stood up so persistently and effectively for the dignity of human nature…”

A letter from Douglass was found among John Brown’s belongings, leading to warrants for Douglass’s arrest as a conspirator. He was lecturing in Philadelphia at the time of the discovery. John Hurn, Philadelphia’s telegraph operator, was sympathetic to the abolitionist cause. He received a dispatch for the sheriff calling for Douglass’s arrest and both sent a warning to Douglass and delayed relaying the dispatch to the sheriff. Douglass fled and made it to Canada, narrowly escaping arrest. He then went abroad on a lecture tour, resisting apprehension in the States.

Print of Black woman holding child and kneeling at the feet of standing man in suit; man in uniform stands beside them
The text on this Currier & Ives print reads “John Brown—The Martyr: Meeting a Slave Mother and her Child on the steps of Charlestown Jail on his way to Execution. Regarding them with a look of compassion Captain Brown stooped and kissed the Child then met his fate." This did not actually occur, but became popular lore, as well as the subject of artwork and literature. / THF8053

The Civil War & Abraham Lincoln


In 1860, Abraham Lincoln was elected President of the United States. At the time, Douglass was not optimistic about the cause of abolition under Lincoln’s presidency. As tensions between the North and South grew and Civil War loomed, Douglass welcomed the impending war. As biographer David Blight states, “Douglas wanted the clarity of polarized conflict.”

Douglass got involved in the war effort through the recruitment of Black soldiers. Two of his sons, Charles and Lewis, joined the 54th Massachusetts Regiment, the second Black regiment in the Union Army. Douglass first met President Abraham Lincoln in August 1863, when he visited the White House to discuss grievances against Black troops. Even without an appointment and a room full of people waiting, Douglass was admitted to see Lincoln after just a few minutes.

Print of Black men in blue uniforms, led by a white man in a blue uniform, clashing with men in gray uniforms
Two of Frederick Douglass’s sons, Lewis and Charles, fought with the 54th Massachusetts Colored Regiment. Lewis Douglass was appointed Sergeant Major, the highest rank that a Black person could then hold. / THF73704

Douglass would go on to advise Lincoln over the following years. After Lincoln’s second inaugural address, he asked Douglass his thoughts about it, adding, “There is no man in these United States whose opinion I value more than yours.”

On February 1, 1865, Lincoln approved the Joint Resolution of the United States Congress proposing the 13th Amendment to the Constitution—the “nail in the coffin” for the institution of slavery in the United States. But before the 13th Amendment could be ratified, Lincoln was assassinated by John Wilkes Booth on April 15, 1865. While Douglass and Lincoln certainly disagreed on many topics, Douglass remembered him fondly. In his eulogy, Douglass called Lincoln “the Black man’s president: the first to show any respect to their rights as men.”

After the Civil War and even after Reconstruction, Douglass held high-ranking government appointments—often becoming the first Black person to do so. Douglass was appointed the Minister Resident and Consul General to Haiti in 1889.

Page with handwritten text and many signatures at the bottom
While Douglass certainly supported the 13th Amendment’s abolition of slavery, he did not think it went far enough. He remarked, “Slavery is not abolished until the black man has the ballot. While the legislatures of the south retain the right to pass laws making any discrimination between black and white, slavery still lives there.” / THF118475

Douglass continued to lecture in support of his two primary causes—racial equality and women’s suffrage—until the very end. On February 20, 1895, he attended a meeting of the National Council of Women, went home, and suffered a fatal heart attack. He was 77 years old.

Frederick Douglass remains one of the most inspirational figures in American history. We can still feel the weight of the words he wrote and spoke, more than 125 years after his passing. Douglass said, “Memory was given to man for some wise purpose. The past is … the mirror in which we may discern the dim outlines of the future and by which we may make it more symmetrical.” This work continues.

Ebony magazine cover with text and image of Black man with bushy hair, beard, and mustache
Frederick Douglass remains a powerful symbol of the fight for racial justice and equality. Here, his image graces the cover of Ebony Magazine’s issue celebrating the 100th anniversary of the Emancipation Proclamation. / THF98736_REDACTED


Katherine White is Associate Curator, Digital Content, at The Henry Ford. She appreciated the recently published book by David Blight, Frederick Douglass: Prophet of Freedom, as she conducted research for this post.

Civil Rights, #THFCuratorChat, Abraham Lincoln, Civil War, education, women's history, voting, by Katherine White, books, African American history