“Boston’s Little Syria” exhibition on display in Grossmann Gallery

Author: Sabrina Valentino, Archives Assistant and graduate student in the Public History MA Program, UMass Boston

Boston’s Little Syria, an exhibition currently on view in the Grossmann Gallery on the fifth floor of the Healey Library, takes viewers on a journey through Boston’s little-known first Arab neighborhood. Located in what is now Chinatown and the South End, Little Syria became home to immigrants fleeing blight and violence in Ottoman-controlled Syria and Mount Lebanon. The exhibition will be open through May 31, 2024. 

The Boston’s Little Syria exhibition uses property maps, photographs, interviews, and memoirs of Syrian and Lebanese Americans who lived in this neighborhood to build a map of the creation and eventual migration of Little Syria, blending the history of the modern Middle East and Boston’s urban history. The items on display not only tell individual stories of the lives of immigrants, but also shed light on a rich cultural center in Boston that has been pushed aside and largely forgotten. 

In the 1880s, immigrants from Ottoman-controlled Greater Syria chose to leave their homes to escape war, famine, and the collapse of the silk industry, leading many to build new homes in Massachusetts. Starting in what is now Ping On Alley, the community grew and created a thriving life for themselves, reaching 40,000 people expanding south down Shawmut Avenue by the 1930s. However, despite the community’s growth and success, the residents of Little Syria faced hardships such as being denied citizenship status, and eventually began to relocate due to the Boston Redevelopment Authority uprooting urban blocks. 

Syrians sitting on a front step on Hudson Street, black and white photograph, photographer unknown, 1909. Courtesy of the Trustees of Boston Public Library.

The exhibition originated from a larger project that began with walking tours in 2022, and eventually grew to include an interactive digital map and a bilingual article published in the online journal Al-Jumhuriya as well as exhibitions at both MIT’s Rotch Library (2022-2023) and the Massachusetts Historical Society (2023). 

The exhibition is curated by Lydia Harrington and Chloe Bordewich. Lydia Harrington received her PhD in Art and Architectural History from Boston University in 2022 and was a Postdoctoral Fellow in the Aga Khan Program for Islamic Architecture at MIT in 2022-2023. She is currently the Senior Curator at The Syria Museum, which is one of the sponsors of this exhibition. Chloe Bordewich is a postdoctoral fellow at the Jackman Humanities Institute and Critical Digital Humanities Initiative at the University of Toronto and  received her PhD in History and Middle Eastern Studies from Harvard University in 2022.

Boston’s Little Syria is sponsored by the Syrian American Council, the Norman B. Leventhal Map & Education Center at the Boston Public Library, and the University of Massachusetts Boston.

For additional information on Boston’s Little Syria, visit bostonlittlesyria.org.

The Grossmann Gallery is open during Healey Library hours.


University Archives and Special Collections in the Joseph P. Healey Library at UMass Boston collects materials related to the university’s history, as well as materials that reflect the institution’s urban mission and strong support of community service, notably in collections of records of urban planning, social welfare, social action, alternative movements, community organizations, and local history related to neighboring communities.

University Archives and Special Collections welcomes inquiries from individuals, organizations, and businesses interested in donating materials of an archival nature that that fit within our collecting policy. These include manuscripts, documents, organizational archives, collections of photographs, unique publications, and audio and video media. For more information about donating to University Archives and Special Collections, click here or email library.archives@umb.edu.

Connecting Ties: A Transatlantic Friendship on Display in the Grossmann Gallery

Connecting Ties: A Transatlantic Friendship and the Northern Ireland Peace Process, an exhibition opening next week in the Grossmann Gallery on the fifth floor of the Healey Library, illustrates through textile language the human dimension to the relationship between the United States, Ireland, and the Northern Ireland peace process.

A collage featuring three arpilleras at the core of this exhibition; 'Pat Hume', 'Tip O’Neill' and 'John Hume, Peacemaker'. (Design and photo: Leisa Duffy, Copyright Conflict Textiles)
A collage featuring three arpilleras at the core of this exhibition: Pat Hume, Tip O’Neill, and John Hume, Peacemaker. (Design and photo: Leisa Duffy, Copyright Conflict Textiles)

The exhibition is co-curated by Conflict Textiles, a unique transnational collection of textiles focused on conflict and human rights abuses, in partnership with John Hume & Thomas P. O’Neill Chair in Peace, INCORE, Ulster University, and the Joseph P. Healey Library at the University of Massachusetts Boston. It will be on view from November 17, 2023 through May 2024. Prior to the exhibition opening, the Tip O’Neill textile will be unveiled at the Golden Bridges 2023: Conference Luncheon, where John Hume, Peacemaker and Pat Hume will also be displayed.

A reception with refreshments will be held in the Grossmann Gallery on Friday, November 17, 2023, from 4:30 pm – 6:30 pm, during which the exhibition will be officially opened by Dr. Tom O’Neill. RSVP at the following link to the invitation: Official launch of the Conflict Textiles Exhibition (Boston) Tickets, Fri 17 Nov 2023 at 4:30 | Eventbrite.

The Northern Ireland Conflict (“The Troubles,” 1969-1994), which focused on the division of the island of Ireland, left more than 3,600 people dead, many more injured, and impacted all sectors of society. From the mid-1970s, key individuals from the United States, including Speaker of the United States House of Representatives and Massachusetts Congressman Thomas “Tip” O’Neill, were involved in discussions and negotiations during the peace process, culminating in the Good Friday Agreement signed in April 1998. In supporting peace in Northern Ireland, Tip O’Neill worked closely with John Hume, the Nobel Peace Prize winner from Northern Ireland. This unique friendship and the contribution of John Hume’s wife Pat are illustrated in the exhibition.

Tip O’Neill, by Lisa Raye Garlock, 2023. Recycled, hand-printed, and hand-dyed fabrics (cotton, linen, silk, wool), Irish linen, felt, and neckties (provided by the O’Neill family), Conflict Textiles collection. (Photo: Lisa Raye Garlock)
Tip O’Neill, by Lisa Raye Garlock, 2023. Recycled, hand-printed, and hand-dyed fabrics (cotton, linen, silk, wool), Irish linen, felt, and neckties (provided by the O’Neill family), Conflict Textiles collection. (Photo: Lisa Raye Garlock)

The exhibition showcases three specially commissioned textiles highlighting the interconnections and work of these essential people in the peace process. The three textiles entitled Tip O’Neill, Pat Hume, and John Hume, Peacemaker are accompanied by several Northern Ireland textiles depicting the conflict and search for peace in the late twentieth century. Four of these pieces, on loan from Causeway Coast and Glens Borough Council Museum Collection, were created in workshops in Northern Ireland in 2012 and 2013, during which two Northern Ireland communities explored the legacy of the conflict through textile language.

These textiles and many others on display draw their inspiration from early Chilean arpilleras, which are appliquéd picture textiles, handsewn from scraps of fabric onto hessian or burlap. Three Chilean arpilleras from the 1980s and 1990s narrate ordinary peoples’ experiences of the oppressive seventeen-year-long Pinochet dictatorship, which seized power in September 1973. An arpillera from neighboring Argentina
articulates the human rights violations of the Videla regime (1976-1983) and the enduring, courageous protests by the Abuelas (Grandmothers) de Plaza de Mayo.

Selected highlights from the Disappeared Children in Argentina: Rita Arditti’s Interviews with the Grandmothers of Plaza de Mayo collection and the Padraig O’Malley papers held at UMass Boston are also featured.

The Grossmann Gallery is open during Healey Library hours.


University Archives and Special Collections in the Joseph P. Healey Library at UMass Boston collects materials related to the university’s history, as well as materials that reflect the institution’s urban mission and strong support of community service, notably in collections of records of urban planning, social welfare, social action, alternative movements, community organizations, and local history related to neighboring communities.

University Archives and Special Collections welcomes inquiries from individuals, organizations, and businesses interested in donating materials of an archival nature that that fit within our collecting policy. These include manuscripts, documents, organizational archives, collections of photographs, unique publications, and audio and video media. For more information about donating to University Archives and Special Collections, click here or email library.archives@umb.edu.

Elena del Rivero’s Grids and Stains: Aesthetic and Political Site Specificity

Author: Prof. John Tyson, Art History

Side view of a red and white flag hanging from a railing.
Elena del Rivero (Spanish, b. 1949)
Letter from Home (Suffrage), 2019 
Nylon
3.8 x 5.2 ft (117 x 150 cm)
Installation view, Grossmann Gallery, Healey Library, UMass Boston.
Copyright Elena del Rivero. Photograph by Jon Bakos.

Since the beginning of the semester, one of Elena del Rivero’s monstrous dishtowels, titled Letter from Home (Suffrage), has been on display in the Grossmann Gallery of the Joseph P. Healey Library at UMass Boston.  Visible from the fourth and fifth floors of the library, the flag-artwork is presented on campus as part of the Arts on the Point public art program, directed by University Hall Gallery Director Sam Toabe. Del Rivero’s flag is one of nineteen with an identical design (in a range of different sizes) that have been, are, or will be flying across the United States. The number of flags references the Nineteenth Amendment to the United States Constitution, which legislated women’s right to vote in 1920. Del Rivero recognizes the de facto shortcomings of the change in legislation and the ongoing issues of enfranchisement with the stained forms on her work.

In addition to referencing American politics, Letter from Home (Suffrage) plants a flag in aesthetic territory. The dishtowel-banner alludes to a longer history of geometric abstraction within modern art and architecture. The grid of Letter from Home (Suffrage) recalls the basic structure of the Brutalist architecture of the Healey Library where it is installed; indeed, by this redoubling, it prompts illuminating reflections on the host site. Curiously, the library’s architect Harry Weese links our Columbia Point campus to the infrastructure of the District of Columbia.

Weese designed many of the Metro stations in the nation’s capital. Even as the dishtowel shares the geometries of these institutional structures, it markedly contrasts with the cold, rigid rationalism they communicate. In contradistinction, del Rivero’s use of a more humbly scaled, besmirched matrix tacitly advocates for a distinct logic: she celebrates human use and interaction with the grid.

Furthermore, throughout the twentieth century many male artists, from Piet Mondrian to Max Bill to Jasper Johns, were heralded as “geniuses” for their employment of the grid as a central motif. By translating and transposing the form of a gridded dishtowel into the realm of (public) art, del Rivero underscores the fact that textiles used primarily by women–and considered to fall in the lower category of “craft”—formally anticipate “groundbreaking” innovations of the avant-garde. Her flag labors to wrest the grid from the hands of male modernists and suggest it is an emblem of fluidity instead. Equally, the stains on the flag recall the marks and techniques of modernist painters like Jackson Pollock, Kenneth Noland, Morris Louis, and Helen Frankenthaler, who infused their canvases with thinned-down paint. Thus, del Rivero’s project subtly asks us to revise the history of visual and material culture: Letter from Home (Suffrage) posits a reconsideration of gender binaries as well as hierarchies of cultural production between “art” and “craft.”

Beyond para-citing the grids of modern architecture and art, del Rivero’s dishtowel design also recalls the geometric bands and fields of actual flags. Most flags are condensers of a collective political or civic identity. Indicative of the weight of flags as symbols, we even pledge allegiance to the Stars and Stripes. Hence, in some sense, del Rivero’s banners unite the 19 diverse locations where they have been shown in a constellation of feminist politics. They ask us to dream of a yet-to-fully-exist (and perhaps always utopian) feminist political polity—as well as a corresponding imagined community who would rally around its flag. Nevertheless, raising a feminine-coded banner implicitly issues real calls to action too. Letter from Home (Suffrage) can be read as a reminder that engagement in our domestic politics is an urgent matter—a fact that increasingly rings true following the June 24, 2022, overturning of Roe v. Wade (1973).

Thus, the artwork calls attention to our nation’s broader aesthetic and political context as well as the specific site where it hangs, prompting curious audiences to consider United States history and investigate UMass Boston’s histories, herstories, and their stories.


University Archives and Special Collections houses construction photographs of Healey Library and the Columbia Point campus. Substantial holdings documenting feminist politics in Boston and Massachusetts include:

Melissa Shook: Inside and Out – Photographs on display in the University Hall and Grossmann galleries

Melissa Shook: Inside and Out, a two-part exhibition in the University Hall Gallery and in the Grossmann Gallery on the fifth floor of the Healey Library, brings together photographs, video works, objects, and ephemera spanning six decades to honor the life’s work of artist, educator, and activist Melissa Shook (1939-2020). The exhibition is co-curated by Senior Lecturer II in Art History Carol G.J. Scollans and University Hall Gallery Director Samuel Toabe and will be on view from September 6 through October 29, 2022.

Woman stands in front of a mirror holding a camera, taking a picture of herself
Self-portrait, Melissa Shook, circa 1970s

Best known for her self-portraits and documentary-style photography representing and humanizing members of marginalized communities – including immigrants, queer people, elderly people, and people experiencing houselessness – Shook’s practice expanded throughout her career to include writing, book making, drawing, sculpture, video art, and social practice art through direct action and mutual aid projects. Shook joined UMass Boston in 1979, where she taught photography in the Art and Art History Department for thirty-one years, leaving an indelible mark on the department’s pedagogy as well as generations of students. A catalog with images of Melissa’s photographs will accompany the exhibition, including an introduction by Samuel Toabe, a contextual essay by Carol G.J. Scollans, and texts by Professor of Art Margaret Hart and Melissa’s daughter Krissy Shook. The University Hall Gallery presents the personal side of Shook’s practice, photographing and writing about her own life, as well as sculptural works and video experiments. Healey Library’s Grossmann Gallery features a large selection of her series -Streets are for Nobody, along with archival materials reproduced from the library’s collection of Melissa’s papers, as well as handmade books, sculptural objects, and a collection of her film and pinhole cameras. 

A public reception will be held on Saturday, September 17, 2022, from 2:00-4:00 p.m., starting in the University Hall Gallery.

The establishment of the Melissa Shook Documentary Photography Award in honor of the artist coincides with the exhibition. This fund will provide an annual prize to one or more UMass Boston students or graduating seniors who demonstrate exceptional skill or promise in photography, with a preference for documentary photography skills. The award will be presented this year for the first time to Chloe Tomasetta whose photographic work in 2021 documented busy street scenes in Boston’s historic Haymarket district during the height of the pandemic. 

The exhibition and catalog are supported by the Paul Hayes Tucker Fund as well as a generous gift by Caleb Stewart and Richard Snow. The Melissa Shook Documentary Photography Award is made possible with a generous gift by Nancy and Wendell Lutz. To contribute to the Melissa Shook Documentary Photography Award, please donate via this link.

For more information, please email UHGallery@umb.edu.


Melissa Shook donated her papers to University Archives and Special Collections in the Healey Library at UMass Boston. The collection contains files kept by Shook and includes correspondence, manuscripts, notes, interviews, research materials, workshop catalogs, show announcements, archival photographic prints, slides, hard drives, MiniDV tapes, DVDs, CDs, a VHS tape, and a selection of framed photographs and text from Shook’s 1994 publication Streets are for Nobody. Additional archival collections related to Shook include University of Massachusetts Boston, Art Department student photographs of the Healey Library, 1982-1984 and a collection of photographs taken by Shook for the Writers’ Workshop hosted by the William Joiner Institute for the Study of War and Social Consequences.

For more information about these collections, please email library.archives@umb.edu.

Theresa-India Young exhibition at the Piano Craft Gallery

University Archives and Special Collections is pleased to highlight an exhibition that features the artwork of Theresa-India Young and other contemporary artists. Legacy: A Continuous Thread will be held at the Piano Craft Gallery from October 1-24, 2021. A reception is scheduled for October 15 from 6:00-9:00 pm.

Postcard for "Legacy: A Continuous Thread" featuring Theresa-India Young and contemporary fiber artists

Postcard for “Legacy: A Continuous Thread” featuring Theresa-India Young and contemporary fiber artists

University Archives and Special Collections holds the Theresa-India Young papers, 1917-2011, bulk 1975-2008. This collection documents the life and work of fiber artist, interdisciplinary arts teacher, and educational consultant Theresa-India Young. The collection also contains personal papers relating to Young’s family, her early years in Harlem, and her education, travel, and genealogical research, particularly into her Gullah heritage. Young’s interest in and advocacy for multiculturalism and diversity in education is well-documented throughout the collection, with a particular focus on unearthing and preserving African and Native American traditions. Her fiber art was informed by her research into African aesthetics and traditions, particularly weaving and hair braiding. Much of her research is preserved in the collection in the form of clippings, handwritten notes, and varied publications. As a longtime resident of the Piano Factory, Young lived and worked within a dynamic local arts scene. The collection documents her relationships with other local artists, like Allan-Rohan Crite, as well as the issues they faced, such as affordable housing.

In the late 1960s Young was a student at the Harlem Youth Arts Program (Haryou Act) and studied with painter Norman Lewis and was an apprentice to Zelda Wynn, Costume Designer for the Dance Theatre of Harlem. She graduated from the High School of Art and Design in 1968 and studied at various institutions, such as Parsons School of Design and SUNY at New Paltz, where she received a degree in Arts Education and African Studies in 1973. In 1972 she studied West African Religion and Art at the University of Legon in Accra, Ghana.

In 1975 she won a scholarship to Boston University’s Program in Artisanry for Textiles. Since that time, she resided in the Boston area and maintained a home and studio at the Piano Factory artists’ building. From 1978-1983 she was Artist-in-Residence at Northeastern University’s African American Master Artist-in-Residency Program (AAMARP).

For more information on Theresa-India Young’s life and work see the finding aid for the Theresa-India Young papers.


University Archives and Special Collections in the Joseph P. Healey Library at UMass Boston collects materials related to the university’s history, as well as materials that reflect the institution’s urban mission and strong support of community service, notably in collections of records of urban planning, social welfare, social action, alternative movements, community organizations, and local history related to neighboring communities.

University Archives and Special Collections welcomes inquiries from individuals, organizations, and businesses interested in donating materials of an archival nature that that fit within our collecting policy. These include manuscripts, documents, organizational archives, collections of photographs, unique publications, and audio and video media. For more information about donating to University Archives and Special Collections, click here or email library.archives@umb.edu.