It’s in the details: a closer look at Old Armory fire in an unlikely place

The following is written by University Archivist David McCartney

Image of the fire from the 1971 Hawkeye Yearbook

In the early morning hours of Saturday, May 9, 1970, the building housing the Dept. of Rhetoric mysteriously caught fire and was declared a total loss. Although the cause of the blaze was never determined, many to this day believe it was the work of arsonists. No one was injured. The building, Old Armory Temporary – nicknamed “Big Pink” – was a wooden frame structure situated roughly where the Adler Journalism and Mass Communication Building is now, just east of EPB and across the railroad tracks.The building’s destruction came just days after the deadly Kent State shootings in Ohio on May 4, 1970, and was emblematic of the anti-war protest movement that closed or threatened to close campuses across the U.S. that spring. While UI remained open, students were given the option to complete their semester’s work early and leave the campus, or remain on campus until semester’s end.Fast forward 51 years. In the Dept. of Special Collections & Archives, University Archives Assistant Denise Anderson is processing the Rhetoric Department’s records and recently noted a set of files that appear to have been singed on the papers’ edges. We are speculating that these records survived the 1970 fire, and were saved by Rhetoric staff.

Evidence of burnt edges on the file of Paul J. Kleinberger

Among the surviving records are documents concerning Paul J. Kleinberger, a graduate assistant in Rhetoric who in late 1967 had been suspended from his position by the university following his participation in the Dec. 5, 1967 Dow Chemical protest at the Iowa Memorial Union. Newspaper clippings, correspondence, and other records document this tumultuous chapter. Kleinberger was reinstated in early 1968 and continued to teach, but we don’t know what became of him; his last listing in the student directory is in the 1967-68 edition.Mr. Kleinberger’s letter to the dean of the College of Liberal Arts, Dewey Stuit, dated February 4, 1968, is his appeal to be reinstated. Also included here are a January 1968 article appearing in the Iowa City Press-Citizen, reporting his plan to appeal, and a portion of the Dept. of Rhetoric newsletter, dated November 9, 1967, about a month before the Kleinberger controversy unfolded.

University of Iowa Asian American Oral History Archive

The following is written by Asian Alumni and Student Oral History Project Intern Jin Chang

Asian Alumni and Student Oral History Project Intern Jin Chang

Since the start of the pandemic, prominent leaders have stood in front of crowds of American people calling COVID-19 the “China Virus” and “Kung Flu.” As a result, Chinatown businesses closed as tourists continued to avoid Chinatowns across America and racially charged attacks increased against Asian elders, including a mass shooting in Atlanta specifically targeting Asian Women in the massage industry. Unfortunately, all these moments had precedents in the past. The Chinese Exclusion Acts of 1882, which barred the Chinese from immigrating to America, was one of many policies motivated by Yellow Peril, a racist characterization for the fear of Asian people. This racist belief that East Asia and their people pose an existential threat to America influences the belief that Chinatowns are a uniquely dangerous spot of disease. Before COVID-19, Chinatown and Chinese people were blamed by many Americans for smallpox and cholera in the late 1800’s, the bubonic plague in the early 1900’s, and the SARS epidemic as recently as 2003. For the direct violence against Asians in America many of the wars in Twentieth Century American history have been against Asian countries, teaching Americans to view Asians as the enemy.

This longstanding history of Sinophobia, anti-Chinese sentiment, and the belief in Yellow Peril reveals the racism following COVID-19 is not some bizarre aberration. It is America’s history. While many of these notable early instances of racism against Asian people came from areas with heavy Asian populations such as California, Asian and Asian Americans have long lived in Iowa, and the population continues to grow in the present. As a Korean-American myself, I believe our experiences with navigating race and racism here in Iowa follows national trends, but I also believe there are many unique elements that come from reconciling race and racism as an Asian or Asian American in Iowa that is missing from the national discourses of today.

Directory from the Korean Student Association folder in Organizations & Clubs vertical files of University Archives

For the University of Iowa specifically, we are lucky to have the Asian Pacific American Cultural Center (APACC) as a space of community, healing, and empowerment for Asian Americans in the University. However, APACC began in 2003, and Asian and Asian Americans have long been forming communities in the University of Iowa. One group established in 1999, the Asian-American Coalition, served as a consolidated voice for many Asian Americans, and as one of the leading voices in the founding of APACC. Another group, the Asian American Women’s Group sought to address the specific needs of Asian American Women and predates the Asian American Coalition as it was established in 1993. Prior to the 1990s, many Asian international student groups existed on campus such as the Korean Student Association, the Association of Southeast Asian Nations, and PERMIAS an Indonesian Student Association.

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A brochure found in University Archives for Asian-American Law Students Association, a current student organization

Many of these student groups are underrepresented in the University Archives. The lifecycle of student organizations also means that new iterations exist on our campus to serve Asian and Asian American students today, making it a challenge to capture organizations that have come and gone. While collecting materials from Asian and Asian American groups’ is a priority for the University Archives, the Special Collections & Archives team has also recognized the importance of collecting the stories of communities through oral history. Thus, over the course of the next year, the University Archives will be collecting oral histories of Asian and Asian American students and alumni from the University of Iowa. By capturing our stories and narratives through oral history, we have an opportunity to have our histories recognized and to create a genealogy for future Asian and Asian American students here at the University of Iowa.

If you wish to have your story included in the oral history archive, please contact Jin Chang at jin-chang@uiowa.edu.

Oil painting of Ellen Hale

Ellen Day Hale Paints Her Way into UI History

Through some great research, our University Archivist David McCartney discovers some of the “unknown” facts that are part of new UI Presidential Portrait Gallery in the Main Library, as he explains below. 

When the UI Presidential Portrait Gallery was formally dedicated late last year, staff in Special Collections responsible for this display knew that there were still some ‘gaps’ in some of the portraits’ stories. For example, labels accompanying some of the displayed portraits note that the artist is unknown. But as we continue to learn more of the history of this collection and how it came into being, we update and correct our records – and labels – as needed.

oil portrait of George Thacher
Oil on canvas of George Thacher by Ellen Day Hale

The George Thacher portrait is a case in point. Thacher (1817-1878) was the University’s fifth president, serving from 1871 to 1877. His portrait is an oil-on-canvas, dark in tone and realistic, a style appropriate for the late nineteenth century. The artist’s name was somehow lost in the records as the portrait, along with others in the collection, moved from one campus location to another for nearly a century, until settling in the Main Library.

Well, now we can fill in this gap. Recently, a closer examination of the portrait revealed a nearly-obscured name in the lower left corner: “E.D. Hale.” The signature is difficult but not impossible to ascertain. From this, we were able to confirm via an internet search that the artist was Ellen Day Hale (1855-1940). Our sources for this include the Smithsonian Archives of American Art and an entry on American Gallery online.  

According to the National Museum of Women in the Arts, Ellen Day Hale was “among the wave of American artists, both men and women, who traveled to Europe

Oil painting of Ellen Hale
Ellen Day Hale Self Portrait, Museum of Fine Arts in Boston

for training in the last quarter of the 19th century. She is best known for her Impressionist figure studies. Hale, the only daughter of the noted orator and author Edward Everett Hale and Emily Baldwin Perkins, came from a family filled with notable figures. Her great-great-uncle Nathan Hale was a Revolutionary War patriot; her great-aunt Harriet Beecher Stowe wrote Uncle Tom’s Cabin; and her brother Philip and his wife Lilian Westcott Hale were also professional painters.”

The Boston Art Club was the setting for the first exhibition of her work in 1876. Because both she and George Thacher were from New England, we can speculate that the portrait was completed during the last one or two years of his life, after he left Iowa to return to the northeast to be close to family in light of illness. Hale was perhaps in her early twenties when she completed the portrait, likely one of the first works of a long and distinguished career. She was also the first woman to produce a presidential portrait for the university. 

View the portrait gallery online or view in person on the Main Library’s fifth floor.