Whether it’s dinner at a lively downtown restaurant; listening to the soft sound of water lapping at the bank of a local pond; or curling up in cozy chair in the Indiana Memorial Union, students need places to kick back and relax to escape the rigors of academic life. While many aspects of the student experience have shifted and changed over Indiana University’s almost 200 years of operation, one common quest has endured: finding a great place to hang out and unwind after classes and work.
The Indiana University Archivesexhibition, “Places & Spaces: A History of Student Hangouts at IU Bloomington,” is an exploration of some of the most legendary hangout spots that IU students have frequented over the years. Some long-enduring favorites, like Nick’s English Hut, are still a familiar staple in the IU student experience to this day. Other former hangout spots, like The Book Nook and Ye Olde Regulator, are now enjoyed by students in the same spaces under different names, such as BuffaLouie’s and Kilroy’s. Some of the most beloved student haunts of the past, like the Sunken Garden and The Commons in the former Student Building, are no longer in existence; but they continue to live on in memories and in historical records.
In order to capture a snapshot of the IU student experience over time, this exhibition utilizes original materials from the Indiana University Archives and the Archives Photograph Collection, including:
A mock diploma for a “Doctor of Nookology” issued to former University president Herman B Wells at the Book Nook commencement ceremony (1931)
Photographs and vintage advertisements for some of the most well-known and beloved hangout spots, including The Book Nook, The Gables, Nick’s English Hut, and Ye Ole Regulator.
This exhibition was inspired by some of the stories shared by IU alumni as part of the Bicentennial Oral History Projectat Indiana University Bloomington. In the following clip, we hear an alumnus, Louis Kaplan, discussing several of the places that students used to visit for the best food in town:
This post began with an excerpt from Carolyn Fink’s memoir, in which she fondly remembers Nick Hrisomalos, founder and former operator of Nick’s English Hut. In the following clip, alumnus Gary Wiggins shares some humorous recollections of Nick’s longest-serving and most beloved waitress, Ruth Collier Stewart. These and other so-called “Ruthie stories” can still be heard from IU Bloomington alumni all across the world:
“I began thinking about diversity in an almost visceral way. It puzzled me why people forget their diverse origins time and time again…”
-Eugene Eoyang, The Coat of Many Colors: Reflections on Diversity by a Minority of One
Eugene Chen Eoyang is Professor Emeritus of Comparative Literature and of East Asian Languages and Cultures and was a part of Indiana University for more than twenty years, teaching in both the Department of Comparative Literature and the Department of East Asian Languages and Cultures.
Born on February 8, 1939, in Hong Kong, Dr. Eoyang came to America at a young age with his family and attended school in New York. He received his B.A. in English Literature from Harvard University in 1959, his M.A. with high distinction in English Literature from Columbia University in 1960, and his Ph.D. in Comparative Literature from Indiana University in 1971.
Dr. Eoyang worked as an editor at Doubleday & Company before coming to Indiana University in 1969, eventually becoming a Professor of Comparative Literature and of East Asian Languages and Cultures, as well as chair of the East Asian Languages and Cultures Department. In 1985, he founded the East Asian Summer Language Institute at Indiana University, which he was director of for five years. In addition, Dr. Eoyang is a former board member and chair of the Kinsey Institute, as well as Associate Dean for the Office of Research and Graduate Development at Indiana University.
This Indiana University Archives exhibition, open through February 14, 2018, hosted by the Office of the Bicentennial, examines both the institutional teaching and personal research of Dr. Eoyang, highly focused on the areas of translation theory and practice, Chinese literature, Chinese-Western literary relations, globalization, cross-cultural studies, and literary theory.
Some of the items featured in this exhibit include photographs, presentation notecards, conference booklets, correspondence, conference papers, and book publications. These materials will provide the viewer with an inside look into the diverse work and outreach of an internationally renowned scholar in the field of comparative literature and translations.
“If the rainbow has been part of American’s neglected past, and if it is the unrecognized backdrop for America’s present, it will also be a critical part of America’s future…The multicultural rainbow is in America’s past, present, and future. The rainbow is no sentimental symbol: it is the American reality.”
-Eugene Eoyang, The Coat of Many Colors: Reflections on Diversity by a Minority of One
The entirety of the Eugene Chen Eoyang papers has been processed and can be viewed in person by appointment by contacting the IU Archives! To learn more about this exhibition, refer to the brochure or view the exhibition in person at:
For freshman Theodore Dreiser in 1889, Indiana University served as fertile ground for his future literary endeavors, but to him “the life of the town, the character of its people, the professors and the students, and the mechanism, politics, and social interests of the University body proper” were far more influential. For generations of students such as Dreiser, the University has served as their first opportunity at self-expression and to react to the political, cultural and social events of their time. Drawn from the collections of the IU Archives, this exhibit highlights groups of students who sought to shape the world around them, whether it be at the local level in their search for self-government and greater gender and racial equality on campus, or as a reaction to national events such as the rise of the Ku Klux Klan in Indiana, the refugee crisis of WWII, McCarthyism, the Vietnam War, apartheid in South Africa, and the AIDS crisis. This exhibit was co-curated by Carrie Schwier (Public Services and Outreach Archivist) along with graduate students Alessandro Meregaglia and Elizabeth Peters.
You can visit the exhibit at the IU Archives (Wells Library E460), Monday – Friday 8-5pm.
Watch for future posts highlighting portions of the exhibit in more detail!
With Halloween occuring next week, where can you see human skin, sixty year-old chewed gum, a ghostly life mask and anatomical x-rays, all from the IU Archives collections? Opening Friday, October 23rd at the Grunwald Gallery of Art, The Wunderkammer: The Curiosities in Indiana University Collectionsexhibit includes a selection of oddities, curiosities, the down-right gross (or to put it nicely, the “non-traditional”) drawn from the vast array of special collections on the IU campus, including the IU Art Museum, the Elizabeth Sage Costume Collection, the Kinsey Institute, the Wylie House, the Lilly Library, the Mathers Museum of World Cultures, the Glenn Black Lab, the Department of Biology, the Black Film Center Archives and of course, the IU Archives.
Description of the exhibit from the Grunwald Gallery web site:
“The public museums at Indiana University are easily accessible and often feature objects from their collections that are the most well known, valuable, and historically and culturally important. However, each collection also contains items that are unusual or non-traditional, which the public rarely sees. It is in the context of the Wunderkammer that we display these items, as a cabinet of curiosities similar to the traditional collections amassed by individuals in the sixteenth century. This tradition continued well into the nineteenth century, with individuals collecting art, natural history specimens, cultural artifacts and ephemera, and there is a resurgence of interest in this today. Special collections at IU were invited to partner with the Grunwald Gallery to select unusual or non-traditional items for the exhibit. Because of this focus, the information about how these objects came to be part of these collections is as important as the items themselves. This exhibit addresses the psychological motivations behind both institutional and private collecting, why and how special collections end up with unusual items, the stories that these unusual items have to tell, and the information and background they add that may not be obvious in more celebrated works.”
Objects from the University Archives’ collections include:
Life mask of IU President William Lowe Bryan – Gordon Loper Reagan, circa 1935-1936
Commissioned by Indiana University President William Lowe Bryan in 1935 when he was in his 70s, this life mask was completed by Gordon Loper Reagan of the Bloomington Allen Funeral Home. While details surrounding the commission are sketchy, Reagan was a student at Indiana University at the time and likely worked at the funeral home to fund his studies. He graduated in 1937 with a B.A. in Philosophy and followed that up with a M.A. in 1939.
Butternut badges, circa 1861-1865
Worn by the Knights of the Golden Circle, an organized group of Southern sympathizers in the North during the Civil War, these badges were made from the cross-section of the butternut (also known as the white walnut). Carefully polished and fitted with a safety pin, these badges referenced the fact that rustic members of the Democratic party of the South often wore homespun clothing dyed with the bark of the butternut tree. These partisan emblems were symbolic of the idea that the Democratic party was the party of the people.
While not officially considered a border state, southern Indiana still exhibited many of the same characteristics. Violent encounters were known to occur around Monroe county, when Democrats flaunted their badges around Republicans at social gatherings, public meetings and church services. Reportedly, some of the young women on campus regarded these badges much the same as women regard being pinned by a fraternity member today.
Breathalyzer – Robert F. Borkenstein, 1954
Using breath samples to measure blood alcohol concentration (BAC), the Breathalyzer was the first practical compact device for use by police officers investigating traffic violations and accidents. It went on to revolutionize the ability of traffic enforcement officials to identify and prosecute drivers under the influence of alcohol. The Breathalyzer was commercially produced and adopted by law enforcement agencies throughout the country and world.
In 1958, Robert Borkenstein retired from the Indiana State Police and joined the Indiana University faculty as Chairman of the newly established Department of Police Administration (today Criminal Justice). In addition to his administrative roles, Borkenstein was an avid researcher and prolific figure in his field. One of his most significant research endeavors was the Grand Rapids Study of 1967-1968, the findings of which supported changing the legal blood alcohol content from 0.1 to 0.08.
Dental X-rays – Joseph Charles Muhler, circa 1950s
A proponent of the practice of preventative dentistry, during graduate school in 1945 IU alumnus and later faculty member Joseph Charles Muhler began research into over 150 fluoride compounds, then believed by dentists to be the solution to tooth decay. With continuing support from Procter & Gamble, he conducted clinical field tests on Bloomington, Indiana school children and demonstrated that stannous fluoride was the most effective at hardening and protecting tooth enamel.
Licensed to Procter & Gamble, the product was branded as Crest and was distributed nationally beginning in 1956. In 1960 the American Dental Association’s Council on Dental Therapeutics endorsed Crest as an effective preventative measure against tooth decay.
Doris Joan Richards Neff Scrapbook, September 1945-August 1946
Often called Joan or Jo, Doris Richards entered Indiana University as a freshman in 1945 and lived in Sycamore Hall. She participated in the Archery Club and was a member of Pamarada (an honorary for independent women). During her time as a student, she meticulously kept a series of scrapbooks which document her Indiana University experience from 1945-1949. Highlights from her freshman year scrapbook include a cookie in the shape a tennis racket, a frog eye lens extracted in Zoology, a friend’s chewed gum and another’s peeled skin following a sunburn as well a more traditional items such as programs for campus athletic and social events, dried flowers and leaves, and cards from family and friends.
Joan graduated in 1949 with a BS in Physical Education with High Distinction and the same year married classmate Franklin Warner Neff.
Some other objects in the exhibit include Herman B Wells’s handmade underwear from the Elizabeth Sage Costume Collection; A petrified hen’s egg from 1835 found trapped inside the walls of the Wylie House Museum; the original 1955 Relax-A-cizor device from the Kinsey Institute Collections; and Diana Ross’s lunchbox and gold record from the film Bustin’ Loose from the Archives of African American Music and Culture, to name only a few.
This exhibition will open Friday, October 23 and continue through Wednesday, November 18. An opening reception will be held on Friday, October 23 from 6:00 pm to 8:00 pm at the Grunwald Gallery. A noon talk will be presented by the curators and collection managers of several special collections on Friday, November 6 in the Grunwald Gallery.
My name is Claire Repsholdt. I am an undergraduate majoring in English and History at IU. This summer, I had the honor of working with the IU Archives to select pieces for the exhibit “The Nature of Labor on a Changing Campus” that I curated as part of the College of Arts and Sciences Themester for the Scholars Commons in Wells Library.
Before I began this project, I had never had the chance to work in an archive. So, along the way, learning procedures for research were just as important as collecting materials for the exhibit. During the first meeting, I was excited to find out about the extensive materials in the IU Archives, which seems to include every memory of IU from students and staff, on campus and off. Furthermore Indiana is especially unique for having such an extensive digitized collection, which is largely available to the public for viewing. I highly suggest exploring it if you get a chance!
At first, when I thought about labor, I pictured industry, unions, and blue collar workers with names sewn into their jackets. However, as I learned about the other events sponsored by Themester, I quickly realized that you can find a story of labor everywhere you look. And since I was looking in the Indiana University Archives, there were millions of exciting options to choose from. I needed to narrow my focus. As I looked through materials, I couldn’t help but get excited when I found out new pieces of campus history, especially since it seems that this campus is currently undertaking an enormous period of change. With several new building projects in progress around campus, I hoped that I could use the archives to show some of the campus familiar landmarks in a new light.
Selecting what materials to exhibit was, to use a classic labor analogy, like mining for gold. I delved deep into the comprehensive online Archives Photograph Collection and waited for a spark, an image that surprised me, moments when the IU community looked especially unusual or unique. Then I would sit down with what I’d found and ask the archivists for their suggestions. They guided me to rich pockets of materials like the beloved Leonard “Ruck” Ruckelshaus collection, which documents the baseball team’s trip to Japan in the 1920s (be sure to check out the I-Men’s sweater), or to the documents and ephemera of the now-defunct Home Economics department, which includes the personal correspondence and collections of Professor Elizabeth Sage. I was enchanted. I began to shape the exhibit’s narrative around these pieces, learning the careful preservation and presentation requirements that came along with them.
One of my personal favorite discoveries was a collection of photographs taken of staff from about 1949-1970. Only a fraction of the images made it into the exhibit–there were several pounds of folders full of prints–but by studying the collection as a whole I felt that I developed a much more intimate understanding of the story of labor on campus. The pictures were barely captioned, taken by some excited photographer who had access to a great portable camera, possibly for the first time.
As I reviewed them, I imagined a young guy running around campus, shirt collar flapping in the wind, coercing workers into becoming the subjects of his picture and manically developing the prints for some important project that may or may not have ever been achieved, stacking them into the piles that moved from cabinet to cabinet and now fill the manila folders at the IU Archives. Those pictures became the heart of the exhibit for me. The photographer(s) were engaged in the same process I was, attempting to document labor on campus for posterity. In some way, my exhibit was just finishing what they had begun.
Though photograph research was an enormous part of the project, it was important to me to present a wide range of materials for the exhibit. I wanted to demonstrate not only what the IU Archives had available, but also to do justice to the experience of labor. I sought methods of displaying materials that would reflect the amount and variety of labor that occurs on campus and the way that labor is always in progress, moving through time.
The exhibit space ended up being a crucial part of the concept of labor in progress, since it is a hallway: most of the visitors are just passing through. The exhibit had to react to constant motion. So, I chose to compose the exhibit within a simulated version of the Sample Gates, one of the most prominent centers of motion on campus. The background of each wall panel is a blown-up drawing of the Sample Gate pillars, and the slides on monitors in between the panels are images of pedestrians walking the cobblestone streets through the gates. Each of the monitors features films and moving text, encouraging viewers to imagine they are passing through the gates into campus as they imagine labor. As for the individual materials and captions in the exhibit, I tried to think of viewer interaction at all times, so that they could enjoy the same experience I did in the archives when I rediscovered campus through labor.
For the west wall of the exhibit, I acquired vintage office items from IU Surplus and picture frames from local thrift stores to create unique frames for the pieces from the Archives. I arranged the pictures and personal possessions of the featured laborers comfortably, the way they might be arranged on a family bookshelf, so they crowded together to take labor out of time, showing that even a historical presentation of pictures and accessories seemed at once familiar and historical, exhibit and display, past and present.
For the east wall, I represented the passage of time through labor by selecting various chronological renderings of both a location on campus, the Sample Gates, and campus as a whole in guided maps. I paired these chronological tours with facts and questions about labor. I hoped to call viewers’ attention to connect labor with time, showing how labor motivates change and pushes the campus to take action.
Both walls of the exhibit culminated in campus films featuring workers going about daily labor rather than sitting frozen in an exhibit. As a viewer notices a film, both the viewer and the exhibit are both on the move, passing through the space together in one group. Maybe for that one moment, there is no difference between being an archive and being alive. Everything is together, moving forward to change labor on campus.
It is my hope that the materials are provocative enough to interrupt the motions of students for a moment and ask them to recognize the labor that is a part of their daily campus routine. I hope that as they continue on their way to the computers or printers, they’ll look a little askance at the computer cubicles, pondering questions about where they are going, what work that they are doing, what technology they are using, and who is making it all possible.