Hugh S. Greer Field House

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The Hugh S. Greer Field House was built in 1954. It originally served as the University of Connecticut’s basketball stadium, replacing the “Cage,” a temporary structure composed of two airplane hangars. In 1990, it became part of the student recreational facilities after the basketball teams left for the new Gampel Pavilion. A year later, the University Board of Trustees voted to rename the building after former UConn basketball coach Hugh S. Greer.

Hugh Scott Greer was born in Suffield, Connecticut, on August 5, 1904. He attended the Connecticut Agricultural College, receiving a Bachelor of Science degree in 1926, and later received a Masters of Education from Springfield College. After a successful career as a high school coach, Greer came back to the University of Connecticut in 1946. He was hired as an Assistant Professor of Physical Education and coached the Men’s Basketball team. According to one report, Greer “never lost his composure on or off the court,” and he was awarded the Gold Key from the Connecticut Sports Writer’s Alliance in 1957 for outstanding contributions to sports in his home state.

At the time of his death in 1963, Greer held the record for most wins as UConn basketball coach. After he unexpectedly died from a heart attack, a plaque was installed in the Field House to commemorate his celebrated service at the University of Connecticut.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

Deep Dives: Bringing the APC Files Collection Online

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Patrick Butler, Assistant Archivist for the Alternative Press Files Collection and Human Rights Collection, is a 2018 Ph.D. graduate of the UConn Medieval Studies Program.  During his time as a graduate student he worked in the UConn Archives to broaden his materials handling experience and develop skills as an archivist.  He has specialized training in medieval paleography and codicology. 

Over the past year I have been shepherding a project in order to make the APC Files Collection discoverable outside of a card catalog cabinet in the lobby of the UConn Archives.  This collection consists of over four-thousand subject files of single issue publications, fliers, newsletters, comic books, and various ephemera relating to the underground press and political activism from the 1960s to the present.  The ultimate goal of the project is to digitize and upload the entire APC Files collection to the Connecticut Digital Archives (CTDA).

At the moment I am uploading the first collection of scanned materials, which means this project, as a whole is entering into what could be considered its final phase.  Final of course may belie the fact that it will require a tremendous amount of effort and continuing coordination to scan these materials in conjunction with the staff of the digitization lab at Homer Babbidge Library, without whom this project would not be possible.

This project has come with a new host of challenges for me as an aspiring archivist and seasoned academic, and has given me new opportunities to engage my more specialized research interests through different materials and addressing a broader audience as a result.

The Activist -A Student Political Quarterly published out of Oberlin College: 11.1, 1970

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“U. Roberto Romano Papers: Photographs of Child Labor in Coastal Countries” On Display At Avery Point

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On display at the UConn Avery Point campus this fall is U. Roberto Romano Papers: Photographs of Child Labor in Coastal Countries. This exhibition is an exciting mix of student work, fine art prints from the archives, and never before exhibited work from the fishing platforms off the coast of Indonesia.

U. Roberto (Robin) Romano (1956-2013) was a prolific photographer and documentarian in the late 20th century. He created work all over the world primarily in Africa, India, the Middle East and the United States that documented child labor and human rights issues. He created the first feature length film on child labor titled Stolen Childhoods with his long time creative partner Len Morris. On display at Avery Point are fine art prints from Stolen Childhoods that were donated to the archives in 2009. These prints are beautiful examples of his early analog work that was shot in both color and black and white. The descriptions of these photographs detail the lives of children trapped in the horrors of child labor in the late 20th century.

In addition to fine art prints, this exhibition will also showcase the student work that has been created from this collection. Dr. Fiona Vernal, Associate Professor of History at UConn, led her students this past spring to create an exhibition on child labor in Africa called The Hidden Costs of Chocolate: How Child Labor Became a Human Rights Crisis. The panels that they created utilize Robin’s photographs to put faces to the countless children that have been victims of child labor in the chocolate industry. They explain what the children are doing on the cacao farms, the tools they use, and how the industry is slowly eliminating the use of child labor through legislation. It is an excellent example of how the Romano papers are being used on campus to educate students, scholars and the public on child labor. There will also be samples of work created by Professor Anna Lindemann’s Digital Media & Design students.

The final element of this exhibition are the never before exhibited jermal prints. These prints were created specifically for this exhibition and showcase Robin’s work from the jermals off the coast of Southeast Asia. A jermal is a fishing platform about the size of a tennis court perched out at sea. Children on these platforms are out there months at a time working for as much as 20 hours a day fishing for tiny fish called teri. They leave their families to do this work, working long hours out at sea for little pay. Robin’s photographs show the lives of these child workers and the greater system that they are victims of. The photographs on display are just a sample of robin’s oeuvre which can be seen in the repository through the following link: https://lib.uconn.edu/libraries/asc/collections/the-u-roberto-robin-romano-papers/

U. Roberto Romano Papers: Photographs of Child Labor in Coastal Countries will be on display from September 13, 2018 to December 16, 2018 at the Alexey Von Schlippe Gallery in the Branford House on the Avery Point Campus at the University of Connecticut.

When: 9/13/18 – 12/16/2018 (Opening Reception 9/12/18 from 5:30-7:30pm)

Where: Branford House on the Avery Point Campus (1084 Shennecossett Rd, Groton, CT 06340)

Francis L. Castleman Building

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Francis L. Castleman Building

The Francis L. Castleman building rests along one edge of the quad on the University of Connecticut’s Storrs campus. It’s marked out by its central stone façade and curved staircases. Originally called Engineering I, the building was officially completed in 1941 (though it opened for partial use the year before). It was constructed during a major period of campus renovation carried out by the Works Progress Administration in the late 1930s-early 1940s under the direction of President Albert N. Jorgensen (whose presidency from 1935 to 1962). In 1970, the building was renamed after Francis Lee Castleman, Jr., a noted professor of civil engineering at UConn.

Francis L. Castleman Building

Castleman was born in Trenton, New Jersey, in 1902. He received an undergraduate degree in civil engineering from Lehigh University in 1925 and received the John B. Carson prize for distinguished work there. He later pursued graduate study at the University of Pennsylvania, receiving his doctorate in 1935.

After completing his studies, Castleman designed bridges for the well-known American Bridge Company, formed out of a merger of twenty steel companies in 1900 by J. P. Morgan & Company. He also served as a professor of structural engineering at Vanderbilt University before coming to UConn in 1942.

Francis L. Castleman, Professor of Engineering

At UConn, Castleman was appointed professor of civil engineering and named chair of the department. He was then named Dean of the School of Engineering just a few years later in 1946. He was a member of several professional organizations and published widely on topics involving structure and mathematics. In addition to his teaching and administrative duties, Castleman was active in and around Storrs. He served as a faculty adviser to UConn’s Engineers’ Club and on the Connecticut State Building Code Commission. Castleman died on December 30, 1955.

Francis L. Castleman Building

The Castleman Building continues to house offices for the Dean of the School of Engineering, as well as classrooms, laboratories, and faculty offices for the Department of Civil and Environmental Engineering. It remains one of the older buildings on campus, though it underwent significant renovation in the 1990s.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

Albert Gurdon Gulley Hall

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Gulley Hall, 1922

The cornerstone of Gulley Hall was laid on May 28, 1908. Back then, UConn was known as the Connecticut Agricultural College, and Gulley Hall had a different name too— Horticultural Hall. A brick building in the colonial style, it was built at a cost of $55,000 during the presidency of Charles Lewis Beach.

The building was designed to support the school’s work in horticulture. The basement had a large room to demonstrate and house spray apparatuses for garden cultivation, as well as rooms to prepare produce for market and cool rooms to store fruits and vegetables. The other floors had dedicated areas for classroom instruction, laboratory work, and a large space for the Museum of Natural History. A greenhouse also sat next to the building.

Laying Corner Stone Gulley Hall, 1908

Horticulture Hall was renamed in February 1921 in honor of Albert Gurdon Gulley, a professor of horticulture at Connecticut Agricultural College from 1894 until his death on August 16, 1917. Professor Gulley was born in Dearborn, Michigan, in 1848. He received Bachelor and Masters of Science degrees from Michigan Agricultural College, where he worked for four years. After a year-long stint at the Vermont Experiment Station, he arrived in Storrs to work and teach.

Gulley Hall, 1938

Gulley was described by one school administrator as “a lover fruits, flowers and trees.” He was reportedly a successful teacher and well-liked by his students. Others said he served the school loyally and even helped shape its appearance, managing the ornamental plantings around campus. He also helped promote Connecticut’s fruit growing interests and frequently appeared at meetings of state farmers.

President Homer Babbidge moved into the Gulley Hall during his tenure (1962-1972), and the building has served administration purposes ever since. Today, Gulley Hall is probably best known as home to the offices of the University President and Provost.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

Albert Jorgensen Center for the Performing Arts

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When Albert Nels Jorgensen (1899-1978) came to the Connecticut State College as its seventh President in 1935, at the age of 36, enrollment numbered a mere 800 students and consisted of one campus, in Storrs. By the time he retired, 27 years later in 1962 at the age of 63, the school was known as the University of Connecticut, enrollment had grown to 13,000 students, and there were four regional campuses around the state plus plans to build a medical school in Farmington. Jorgensen led the university through trying times that included the Great Depression, the Hurricane of 1938, World War II, and the McCarthy era where academics were targeted as Communists.

On November 12, 1960, at the Silver Convocation honoring Dr. Jorgensen as President in his 25th year, he was heralded for his leadership in building the University of Connecticut from a small, rural college into a major university. Professor of Zoology Dr. Hugh Clark said that “from the beginning President Jorgensen’s tenure has been characterized by vision, by wisdom, by understanding and by courage….It is a result of recognition of the intellectual needs of Connecticut’s citizens; it is the realization of a further purpose of a University to expand the sum of knowledge and to extend its influence into the future.”

Upon notifying members of the University community of Jorgensen’s death in February 1978. then UConn President Glenn W. Ferguson wrote that “Dr. Jorgensen was a…champion of academic freedom…a person who recognized that excellence is the critical quest for a university, and who built an institution that cared about its future and cared about that quest for excellence.”

The Jorgensen Center for the Performing Arts was established in 1955, named in honor of the university’s president. Its first performance was the Boston Symphony Orchestra on December 6, 1955.

 

 

Brien McMahon Hall

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The Brien McMahon Residence Hall opened as a dormitory at the University of Connecticut in the fall of 1964. It was one of the first buildings constructed during the presidency of Homer D. Babbidge. From the outset, the building was named after Brien McMahon, the prominent lawyer and politician from Connecticut.

McMahon was born in Norwalk, Connecticut, in 1903. He attended Fordham University and Yale Law School. He briefly became a judge for Norwalk’s City Court before serving as special assistant to the Attorney General of the United States. McMahon was elected as United States Senator for Connecticut in 1945 and served until his death in 1952. During his time in office, he became an expert in nuclear energy, authoring the Atomic Energy Act of 1946 and promoting the civilian control of nuclear development.

In the Senate, McMahon served alongside William Benton, who later became a member of UConn’s Board of Trustees. In 1958, Senator Benton inaugurated a successful lecture series at UConn, the Brien McMahon Lecture Series, in honor of his late friend and fellow senator from Connecticut. The lecture series ran for a number of years, bringing prominent politicians and scholars to campus, such as Hans Morgenthau, J. William Fulbright, and Romulo Betancourt.

Today, the building is easily recognized by its recently renovated dining hall with a striking glass façade that faces onto Hillside Road.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

Locked Down and Speaking Up: Prison Riots, Reform, and Writing from The Alternative Press Collection

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Patrick Butler, Assistant Archivist for the Alternative Press Files Collection and Human Rights Collection, is a 2018 Ph.D. graduate of the UConn Medieval Studies Program.  During his time as a graduate student he worked in the UConn Archives to broaden his materials handling experience and develop skills as an archivist.  He has specialized training in medieval paleography and codicology.  

On August 21, 1971, African-American activist and author George Jackson took hostages in order to escape San Quentin State Prison.  Five of Jackson’s hostages: three prison guards and two inmates, died in the ensuing violence.  The attempted escape ended with a prison guard shooting and killing Jackson.

Two weeks later, on September 9th, 1971 approximately 1000 inmates at the Attica Correctional Facility rioted and ultimately took control of the prison facility.  The inmates took 42 staff members of the facility hostage in a bid to negotiate for prisoners’ rights.  During the four days of negation, prisoners made 27 demands among which included: better medical care, better sanitation, the end of racial discrimination, updated labor policies aligned with New York State law, and the end of the violent abuse of inmates by guards and prison administrators.

While negotiations with Corrections Services Commissioner Russel G. Oswald and the Attica inmates had initial success, the dialogue would ultimately breakdown when Governor Nelson Rockefeller refused to appear at the prison in a bid to help quell the riot.  In the wake of the Governor’s refusal Oswald stated that they would retake the prison by force; Rockefeller agreed.

When the New York State Police had regained control of the prison 43 people were killed, 10 of which were hostages.

These two moments served as a flash point to bring prison conditions and prisoners’ rights into sharp focus during the seventies.  However, part of the danger that comes from thinking of prisons and prisoners exclusively in terms of the violence is that it risks reducing the bodies of prisoners as little more than sites for violence.  The aim of developing this exhibit has been to examine how materials within the Alternative Press Collections focus on the vulnerability of prisoners to the violence of the systems that shape their incarceration, how they respond to the systematic pressures that seek to justify subjecting their bodies to abuse and neglect, and the power that comes from forging communities in response to these pressures.  A quote from an Attica inmate Roger Champen distills the physical, social, and bureaucratic pressure of incarceration succinctly and eloquently, “Everything is done to you, not for you.”

We Are Attica, 1972.

While the killing of George Jackson and the Attica Prison Riot serve as a starting point for the exhibition’s historical and social context, the materials in this exhibit come from a broad historical range and include a focus on documents produced by and for Connecticut Prisons.  The Alternative Press Collection contains a wealth of material that document how prison communities develop and sustain themselves through creative writing, activism, correspondence, and even revolt.  In order to accomplish this, I looked at the materials prisoners created while in prison, or shortly after leaving prison: newsletters, protest writing, creative writing, and original artwork.  Even work published under the auspices of prison administrators allows for an avenue of expression and solidarity centered on vulnerability;

“To Be Black”

To be Black is to be seated

in Jim Crow vain

in the lonely south on a bus or

train

Because you’re Black and

your Blackness is symbolic of shame

To be Black is to hear a baby’s

screams in the rain

while be eaten by rats

in some dilapidated tenement

in Harlem

or some other place the same

To be Black is to see your mother’s

brow

after caring for another person’s home

somebody else’s child

the long lines of distress

strain

as they disfigure the make-up of her

frame

To be Black is to search in deep

despair

some other place

Freedom somewhere

Abdur Rahman (Clinton Fields) from Inside: Writings by Attica Inmates 1977-1978.

While the specific concerns of an individual piece of writing vary between violence against inmates, unjust imprisonment, political oppression, and basic human rights concerns, the language used throughout these writings, creative or otherwise is a desire for their concerns to be legible to others – to understand and to be understood.  Distinct from sympathy, the specific vulnerabilities that emerged among prison writers seems to stem from a lack of acknowledgement of their embodiment as genuinely human.  Almost reflexively, there is a recurrent theme to dismiss sympathy as a pressing desire among inmates.  Sympathy is antithetical to the goals of these writers, a source of dismissal that does not seek to understand a fundamental connection between the prison author and the audience of the text.

A Special Report from behind the walls of Massachusetts Prisons 1972.

The relentless desire for community, intelligibility – to not be forgotten or silenced by their isolation – makes the writings of prisoners within the Alternative Press Collection a powerful and humbling selection of materials.  It holds its audience accountable for the undeniable connections that are present between individuals despite legal and societal practices of separation.

You can do two things in prison. You can be a man or you can be a robot.  See, if you be a robot, you stand a very good chance of going home.  But notice this, all the papers record this is a fact, that those who stay in here become submissive.  When they get outside, all the things that they have inside, boil over onto society after they come back.

Roger Champen We are Attica, 1972.

The exhibition: “Locked Down and Speaking Up: Prison Riots, Reform, and Writing from The Alternative Press Collection” will be on view in the John P. MacDonald Reading Room of the Archives & Special Collections at the Dodd Research Center from June 15th – August 20th.

For more information on the Cal Robertson Papers please consult the Archives & Special Collections https://archivessearch.lib.uconn.edu/repositories/2/resources/1008

Augustus Storrs Hall

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It will surprise no one with even a remote connection to the University of Connecticut that Augustus Storrs was an important person in the history of our state university. Born on June 4, 1817, in Mansfield, Connecticut, to a family that came to America six generations earlier, Augustus Storrs was the son of farmer Royal Storrs. Augustus started a store in the Gurleyville section of Mansfield when he was just 22 years old. He moved to Hartford in 1841 and by the time he moved to Brooklyn, New York, in 1851 he was a well-established businessman.

In 1875 Augustus bought the family home in Mansfield and developed a stock farm of nearly 1000 acres where he raised thoroughbred cattle and horses. That same year an orphanage that had been established in 1866 for the children of Civil War soldiers was closed down, and Augustus brought that property, which had been situated next to the farm.

In December 1880 Augustus offered 170 acres of land — the former orphanage property — with buildings to establish an agricultural college in Mansfield. Augustus’s brother Charles made a generous offer of $5000, and with these two gifts the Connecticut General Assembly, under the authority of the federal Morrill Land Grant Act of 1862, established the Storrs Agricultural School to train boys in farming. The school opened its doors to twelve students on September 28, 1881. In 1888 a post-office was placed near campus, thus establishing the section of town of and near the campus as Storrs.

Augustus Storrs died on March 3, 1892. He and many other members of the Storrs family are buried in the cemetery on campus off of North Eagleville Road.

Augustus Storrs Hall was built in 1906 and was the first brick building on campus. It was initially a men’s dormitory with 66 two-man rooms but within two years each room held three students. In 1952 it was renovated for offices and classrooms. It is now home to the School of Nursing.

A New Perspective on The U. Roberto Romano Papers

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Marijane Ceruti, Assistant Archivist of the U. Roberto Romano Papers, is a 2014 BFA graduate of the UConn School of Fine Arts. Since graduation, she has worked as a freelance photographer and photography assistant in addition to exhibiting and gaining notoriety for her fine art photography work. She has an extensive technical background in addition to her knowledge of the history of photography.

My first day on the job as the Assistant Archivist of the U. Roberto Romano Papers was a good one. I was handed the torch by fellow UConn alumnus and friend Brooke Foti Gemmell who was taking a different position within the UConn library through her work here. “The first couple of weeks will be intimidating, but you’ll get the hang of it” were words that I heard come out of her mouth more than once. As I got settled in and took the time to dive into the collection I began to realize I shared a lot with the photographer whose work I would be getting to know. Robin and I were both Italian-American photographers who spoke French, liked crass humor and made a lot of the same choices in photography. Robin cited the greats like Henri Cartier-Bresson and Robert Frank as some of his inspirations and I too could count them as some of my own.

 

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As I sifted through memory card after memory card of born digital images in the first couple of days, I started to notice that Robin and I made the same aesthetic decisions in our work. Photographers holding their subjects hostage in front of the lens until finally giving into the moment, making corrections to posture and hair as shoots progressed and even down to equipment choices. Without being prompted I found myself collecting my favorite images of Robin’s in a  folder on my desktop titled “Notable Images”. Now the folder is 600 images strong and I’m sure it will continue to grow. As I look at them, I am reminded of how unique of a person Robin was as he exhibited  equal parts compassion and ruthlessness, humility and prestige, documentarian and artist. These traits are necessary and rare in someone that captures such emotionally charged scenes and shares them with the world. I look forward to sharing this information with the public so that they can see the truth behind child labor, the life of an artist and the complexities that come with processing such a large and vast collection that spans a revolution in photography.

Marijane sorting through prints from Robin’s early work in Pakistan

Now that I have been in this position for 6 months, I am starting to get comfortable curating and archiving with Robin’s voice in mind. I see the choices he made and feel confident that I can respect his vision as well as his compassionate and strong voice when representing the collection. I am so grateful that I was given this opportunity to take a peek inside the collection of such an empathetic and talented photographer. I feel blessed that I get to hold a position that is important and valued within the university and the world alike. I hope that I am able to share Robin’s work in the way in which he intended, care for it in the way that it deserves and bring my talents of exhibiting and marketing to the  collection for students and scholars to learn from and enjoy.

I’m proud to say I will bring pieces of Robin’s work into my own as an artist. In a world that is hurting, I am honored to be able to represent a body of work that was founded by the desire to end suffering.

Thank you to the University of Connecticut Library for this opportunity and to everyone that donated to the Robin Romano Foundation to make this position possible.

Wilfred B. Young Building

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Since its founding in 1881, the University of Connecticut has undergone many changes, and the Wilfred B. Young Building perfectly embodies this dynamic history. In the years after World War II, a surging student population spurred a raft of new construction under the tenure of President Albert N. Jorgensen. The building that later became known as the Young Building appeared during this period, officially opening in the fall of 1953.

Along with the growing student population, the building also reflects the changing academic climate at UConn. When it first opened, the building housed the College of Agriculture. In the 1960s, it became home to the College of Agriculture and Natural Resources. Now it holds the College of Agriculture, Health, and Natural Resources. The multiplying specialties illustrate how the university’s educational mission has developed over the years, shifting to meet the needs and interests of students and the wider society.

The building’s namesake, Wilfred B. Young, also played an important role in UConn’s history. Born in Indiana in 1903, Young spent his early life learning agriculture and animal husbandry, as well as working in the famed Chicago stockyards. He came to Connecticut in 1931, recruited by Professor Harry L. Garrigus to teach and conduct research through the Agricultural Experiment Station. He served as Dean of the College of Agriculture and Natural Resources from 1945 to 1966. Young retired in 1966 and died in 1978. The building was named in his honor the following year in recognition of his many contributions to the university.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

J. Louis von der Mehden Hall

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J. Louis von der Mehden, Jr., was born July 20, 1873, in San Francisco, California. A musician and composer, von der Mehden held several positions in San Francisco before moving east to New York City after the 1906 earthquake. He was steadily employed as a cellist or conductor with theatrical or commercial bands and worked for a year as the musical director of Herald Square Theater before becoming involved full time in the recording industry, working at different times for five different phonograph studios: U.S. Phonograph, Pathé Frère, Columbia, Lyraphone and the Victor Talking Machine Company. On some recordings he played cello in the orchestra; more regularly he would conduct performances, often arranging the music the night before the recording sessions. In 1926, von der Mehden and his wife Susan moved to Old Saybrook, Connecticut, full-time, having purchased a house in 1911.

J. Louis von der Mehden, Jr. died on August 27, 1954, in Middlesex Memorial Hospital and was buried in Cypress Cemetery at Saybrook Point.

In 1956, UConn President Albert N. Jorgensen reported to the Board of Trustees that under the provisions of the will of the late Susan Evelyn von der Mehden, who died less than one year after her husband, the University was to receive a considerable sum from the estate. There were three provisions: first, the University was to receive all of the original compositions of the late J. Louis von der Mehden; second, the University was to erect a building to be used as a concert hall in which this music could be performed; and third, the University was to provide a vault for the safekeeping of the music. The von der Mehden’s had no obvious connection to the University of Connecticut so it is unknown why Mrs. von der Mehden chose to make such a large donation to the university.

The J. Louis von der Mehden Recital Hall was completed in 1961 and has been in regular use as a recital and performance hall.

Archives & Special Collections holds Mr. von der Mehden’s papers, which consist of diaries, newspaper clippings, correspondence, notes, financial records, photographs, musical manuscripts, scores, publications, and celluloid cylinders.