101^st Object Submissions

It tells stories of the students of UVA

I crossed this bridge every day.

It holds purpose and tradition.

She was a prominent woman in the art world and spent time here despite only men being allowed to learn here

White Supremacists, led by Richard Spencer, rallied on the front steps of the Rotunda, chanting the phrases “Jew will not replace us” and “blood and soil”. Thomas Jefferson’s statue, a symbol of white supremacy, is what drew them to this location. Although Jefferson’s statue stands before the Rotunda in honor of his contributions to this University, placing him on the pedestal served as an invitation for a more insidious narrative. I propose we continue to honor Jefferson's memory by dedicating this statue as the 101st object, off his pedestal, and within the context of his legacy as a white supremacist.

Klöckner Stadium represents UVA athletics, with its impeccable beauty, great atmosphere and overall quality it provides the players and fans. It has hosted NCAA soccer tournaments for 25 consecutive years and has been considered one of the nation’s premier college soccer facilities. The stadium can hold 3,600 people along with hillside seating, that establish an indescribable experience. It creates a world in which all that matters is the UVA community that thrives off of the the elite athletes that attend such a prestigious university. This addition would show the importance of UVA athletics and the community.

After World War Two, with the implementation of the G.I. Bill, there was a surge of applicants for American universities. Of these institutions, University of Virginia was one that had to increase its housing situation to accommodate the newly enrolling class. From then on, what we now call the “old dorms” became an integral structural feature to the ambiance and culture of the University of Virginia. Though the 'old dorms' have been expanded several times and have had small renovations, there have been more major renovations being carried out with dormitories like Bonnycastle and Kent since last year. Before all of the old dormitories are renovated, and many of its artifacts are removed, I believe that we should find some structure or object that shows a part of the 'old dorms' history. The artifact that I find meaningful, is the door. Though the doors to individual rooms are regularly updated, most of the “old dorms” rooms have a door that are inscribed with the names of the previous residents of the room. These individuals attempted to preserve their history and experiences on the door, which countless times allowed them to enter their room with new experiences and exit their room as more developed individuals. Each year, the new occupant of the room enters with some conception of life that is severely altered by their experiences in college, and when they leave the university for the first year, they exit that same door, taking with them all of their new experiences. The door is the gateway to one's experience at the University of Virginia. Finding a door, one that has the names of previous occupants, maybe even occupants who are cultural icons today, I think would be significant as it shows the foresight of past UVA students in starting traditions and how most UVA students want to preserve their experiences as a student by making themselves a part of the new residents history. UVA is a historical place, and I think that the history of its students is something that is very significant and relevant to the hi

When I think about my four years here, one event that always sticks out is the Rolling Stone article from Fall of 2014. This was my first semester at school, and I vividly remember reading the article in the dining hall because everyone around me was doing the same thing. Some people were crying, some looked shocked, some looked angry. But the reason that I’m not suggesting we add the magazine itself, is because what's more striking to me than that moment are all the moments that followed to make sure nothing like that happens again. Green Dot launched the following semester as an initiative to prevent power based personal violence like sexual assault. The bystander trainings was empowering and inspirational, and terms like “green dot” and “red dot” have truly been integrated into the UVA rhetoric. When I think about UVA, I think about a resilient community, not one of fear and shame. That's why I think the best way to represent this important moment in UVA’s history is with the powerful way we chose to respond.

The events that happened last August will without a doubt be remembered and imbedded in the memory of UVA. I think adding a poster, or some other artifact from the rally, will help to shed light on what UVA stands for. It demonstrates the necessity for democracy, and the universities encouragement of student activism and free speech. It’s such a tumultuous time in Charlottesville and across the country, I feel as though it’s important to document these historic moments. Rather than trying to forget what happened in August, we should remember it and use it as a guide for our future, so that we may work to make UVA and Charlottesville a safe and welcoming place for everyone.

His grave shows us how history has a weird way of cropping back up again. Edwin Alderman was the president of Virginia who not only graciously received money from the KKK, but spoke at the welcome ceremony of the Robert E. Lee statue that sits down in Emancipation Park. UVa must not forget its racist roots if it hopes to understand our current situation.

The Good Old Song has been around for over a century, and its lyrics have become a hallmark of almost any UVa event. The camaraderie that is sparked each time the UVa community locks arms and sings the alma mater is unparalleled. Almost all current UVa students and alums can hit every note of the Good Old Song, and I think its true importance to the University should be cemented into this exhibition.

I think this object matters because the University is discussing whether or not to tear down Brooks Hall because it doesn't match the other buildings on grounds (Curator’s note: Never fear, dear readers! We are glad to inform you that Brooks Hall has landmark status and is not at risk of being torn down, though a few decades ago there was indeed a call to demolish it. We are glad to report that the University recently performed significant repairs to the structure, ensuring that it will remain intact for the foreseeable future). I personally like the building because it stands out and has character. This building is a piece of UVA's history and I think a brick from this building would be a great memoir. In the describing caption we could say what the building was used for in the past to give more background.

Very few of the objects in the exhibit relate to student life at UVA, and practically none relate to the everyday experiences students have had in the classroom for the last 200 years. Displaying a historical syllabus would not only reveal the history and evolution of UVA's curriculum, but it would allow students, faculty, and alumni to connect with past generations through the most ubiquitous facet of student life within the College of Arts and Sciences: the coursework.

The 101st object—and also the 102nd object—should remind us of Charlottesville on August 11-12, 2017. To do this, Special Collections should put two objects in conversation: a Unite the Right tiki torch and a counter-protester’s sign which reads, “No Nazis, No KKK, No Fascist USA.” The objects’ captions should detail how UVA came to serve as the stage for a nationally significant, cultural confrontation—perhaps making the obvious connection to alumnus Richard Spencer. While these objects would make for an undoubtedly provocative display, they could serve as a way of prompting museum-goers to consider something that is far from limited to last August: how UVA relates to the past. On a higher note, the caption might also comment on the University’s resolve in the face of those who seek to divide us.

It would provide the honest perspective of how Thomas Jefferson treated his slaves, which may shed light on how we perceive him to this day, in modern political context. It may also reveal Thomas Jefferson’s plans for the university by providing the personal perspective of one who built it with his own hands. Finally, if Thomas Jefferson's treatment of his slaves aligns with the positive narrative perpetuated today, it may be interesting to read whether the slave(s) themselves recognized the discrepancy between their treatment and of those belonging to other slaveowners.

It is current and relevant to UVA student culture without being merely another political/social statement about recent controversial issues. It shows something UVA students love and celebrate.

I specifically remember that the artifact in commemoration for the protests in August 2017 had been taken down. A picture showing the unity of the community at the concert would be a good way to be able to mention the protests while also being able to put a positive unifying message alongside of it. Ideally, the picture would be of the crowd and performers (either DMB or Stevie Wonder). This was a really powerful evening and had a lasting impact on the community.

it's from a shop on the corner in the 1960s (editor's note: we think this shop was likely Eljo's on Elliewood, which is still in business over on Millmont St. today!)

This is such an iconic site, and it is unique to UVA

Poe memorabilia

What many children and adults liked best about football games, especially losing one So!

While unflattering for the university, the article brought nationwide attention to UVA and jump-started a national debate on sexual violence and journalistic ethics.

Its significance is self-evident

Unmasks the illusion of Charlottesville.

Adds to the story of Bernard Mayes

Though I came to UVa as a student after the Pep Band's demise, I grew up a faculty-child and fondly remember the spirit that the Pep Band brought to UVa. One of a handful of college scramble bands, the Pep Band may have been controversial but there's no doubt in my mind the group contributed great value and uniqueness to UVa's community during its 30 years.

Specifically Beta (early 1940s) and Seal (early 1950s). Seal used to go with cheerleaders to football games.

The tradition of student self-governance extends to participation in our country's political system. This scrapbook captures that activity during a simpler time.

Australian Aboriginal artist Judy Watson (Waanyi) created a series of six limited edition prints titled "experimental beds" after undertaking a residency at UVA’s Kluge-Ruhe Aboriginal Art Collection. The title of this work comes from Jefferson’s penchant for planting seeds from around the world to see if they would thrive at Monticello. For Watson, the title also encompassed “Jefferson’s pursuits across the cultural divide ‘between the sheets’ with the enslaved woman, Sally Hemings” and the children and descendants that resulted from this. In many ways Watson’s family resembles Jefferson’s. She is descended from a line of Aboriginal women who married and had children with white men. Watson identifies the stories of enslaved workers escaping and living on the run and enslaved families separated by their owners with those of her grandmother and great-grandmother who were made to work on Queensland cattle stations by the Protector of Aborigines. It wasn’t until 1967, when Judy Watson was eight years old, that Australian citizenship was extended to all Aboriginal people through a constitutional amendment. Superimposed on Thomas Jefferson’s architectural drawings of UVA’s Rotunda, Watson uses silhouettes of Aboriginal artist Richard Bell and Lindsey Jackson, an African American dancer who lives in Brisbane. At Monticello Watson saw silhouettes of Jefferson’s white family members and American Indian chiefs who visited Jefferson in 1806. The pairing of Bell and Jackson, as contemporary people for whom history is as much a part of them as their DNA (indicated by fine traces of hair in the background), communicates Watson’s message about the parallel experiences of Indigenous Australians and African Americans. Watson developed ideas for this body of work with students in UVA’s studio art department in 2011. Jefferson’s architectural drawings were accessed through the Albert and Shirley Small Special Collections Library, which purchased a set of the prints. This print, experimental beds #1, was also acquired by the Library.