Come early for the conference and spend part of Monday, February 6th getting to know one of the country’s most unique institutions of higher learning, Tulane University. ARLIS/NA has organized three fantastic tours of some of Tulane’s most notable special collections. Keep reading for full details.

Tour: Louisiana Research Collection, Hogan Jazz Archive, Southeastern Architectural Archive

Monday, February 6, 2017 11am-1pm

(Max participants 25 / $40)

Join us on the first tour as we make our way to Jones Hall, home of the distinguished Louisiana Research Collection (LaRC), Hogan Jazz Archive, and the Southeastern Architectural Archive. The LaRC is one of the oldest, largest, and most comprehensive research centers for New Orleans and Louisiana as a whole. As an integrated research library and archives, LaRC offers a full range of library and archival research resources, from books and manuscripts to maps and images. Participants can get an early peek of tour highlights by checking out the online exhibit “The Treasures of Tulane: Rarities and Wonders from the Louisiana Research Collection” which features items from a broad spectrum of Colonial and Civil War era history as well as Louisiana arts and literature.

Down the hall from the LaRC, the Hogan Jazz Archive is one of the most renowned resources for the study of New Orleans jazz and related music. Its collection includes oral histories, recorded music, photographs and film, and sheet music and orchestrations. In addition to vintage and contemporary books and periodicals, the reference shelf includes discographies and encyclopedias that can be browsed in the patron area. Special collections also include significant donations from jazzmen Nick LaRocca (leader of the Original Dixieland Jass Band), Ray Bauduc and Knocky Parker.

This tour finishes at the Southeastern Architectural Archive, the largest repository of architectural records in the southern United States. Established in 1980, the SEAA focuses on the preservation and conservation of architectural records associated with the built environment of the southeastern Gulf Region (Alabama, Florida, Louisiana & Mississippi). Tour goers will have the opportunity to engage with an exhibit dedicated to Thomas Sully, grand-nephew of the Philadelphia portrait painter and prolific Gulf South architect.

At this point in the day participants will have the option to return to the conference or stay Uptown for lunch on your own and to attend one of 2 more Tulane tours, either at the Newcomb College Institute Archives or the Amistad Research Center. Both will surely be worth the trip!

Tour: Amistad Research Center

Monday, February 6, 2017 2-3:30pm

(Max participants 20 / $40)

Located in historic Tilton Hall, site of Tulane’s original library, the Amistad Research Center houses the country’s largest collection of manuscripts concerning African Americans, race relations, and civil rights, including materials that more broadly reference the social and cultural importance of America's ethnic and racial history, the African Diaspora and human relations. This tour will include a brief explanation of the Amistad Event, a discussion of Amistad's holdings, and an introduction to material currently on display in the Exhibition Gallery, with special emphasis on holdings from the Center’s fine arts collection as well as the personal papers of artists in the collection.

Tour: Newcomb Archives & Vorhoff Library Special Collections

Monday, February 6, 2017 2-3:30pm

(Max participants 20 / $40)

As the final option in a jam-packed tour day at Tulane, the Newcomb Archives collects, preserves, and makes available records that document the legacy of Newcomb College and the history of women and gender in the Gulf South. Archives Director Chloe Raub plans to share with visitors items from several collections that document the legacies of Newcomb-trained artists. She is excited to report that “[Newcomb Archives] has acquired the collections of several Newcomb-educated artists - most recently, the papers of Carolyn Heller and Louise Grosz - in tandem with the Art Museum, in which they've accepted works that could be used for exhibition, while we've accepted works that are not exhibit quality but that demonstrate the progression of the artists' education, as well as other records that document their experiences, such as correspondence, student records, etc. I'll also plan to share some graphic art from our oversized flat files, as well as some items from our zine collection.”