The collection consists of 552 zines, collected by the donor between 1994 and 2001. The collection focuses on personal zines by women, politics, the punk music scene, social justice activism, and riot grrrl. Many of the zines are accompanied by correspondence with the donor. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
The materials in the Alix Kates Shulman Papers span the dates 1892 to 2000, with the bulk of materials dating from 1968 to 2000. These materials include: manuscripts, notes, clippings, published books, correspondence, photographs, audio and videotapes, microfilm, address and date books, family and business records. The primary focus of the collection is Shulman's writing and literary career. The secondary focus is the women's liberation and feminist movements, in which Shulman was and continues to be very active (from 1968 to the present). However, feminism and feminist activism are inextricably intertwined with Shulman's writing career, and her 1972 novel Memoirs of an Ex-Prom Queen is regarded by many as the first novel to "come out of" the women's liberation movement of the late 1960s and early 1970s.
Other topics covered by the collection include: her teaching and other academic work; her public speaking and conference activities; and her involvement in political activities besides feminism. This collection sheds valuable light on the concerns and tensions within the women's liberation and second-wave feminist movements. In particular, the materials document debates and disagreements among those active in the movement with regard to sexuality, marriage and domestic relations, women's financial situation and careers, health care, civil rights and cultural expression. Many of these issues are raised in Shulman's own work, including her novels, essays, short fiction, personal letters and her teaching materials.
The collection is divided into seven series. The Personal Papers Series contains Shulman's family history papers, photographs, biographical papers, and her personal correspondence (with writers, academics, political activists and family members). Notable correspondents include Ros Baxandall, Jay Bolotin, Kay Boyle, Rita Mae Brown, Phyllis Chesler, Judy Chicago, Andrea Dworkin, Candace Falk, Marilyn French, Lori Ginzberg, Hannah Green, Erica Jong, Kate Millett, Honor Moore, Robin Morgan, Tillie Olson, Lillian Rubin, Sue Standing, and Meredith Tax. The Political Work Series contains material relating to Shulman's involvement with feminist and other liberal political groups, including Redstockings, New York Radical Women, the PEN Women's Committee, No More Nice Girls, the Women's Action Coalition, and Women Against Government Surveillance
The Literary Work Series contains a variety of materials relating to Shulman's literary career, including financial and other dealings with publishing houses, notes and research, photocopies of publications, reviews of her work, articles and notes she collected regarding the literary scene, and original manuscripts. This series contains information about her early children's books; several books she edited of Emma Goldman's writings; her essays and short fiction; her novels Memoirs of an Ex-Prom Queen (1972), Burning Questions (1975), On the Stroll (1977), In Every Woman's Life . . . (1980); and her memoirs Drinking the Rain (1995) and A Good Enough Daughter (1999). A small amount of correspondence regarding book reviews of other authors' work is also included.
The Academic Work Series contains materials relating to Shulman's graduate work at NYU; her teaching at Yale, the University of Colorado at Boulder, NYU, and the University of Hawaii at Manoa; as well as her relationships with her students. The Public Speaking Series contains materials relating to Shulman's participation in literary and political conferences and gatherings, personal interviews, lectures and book talks.
Portions of the Restricted Materials Series either may not be photocopied without prior permission of Ms. Shulman or the relevant author, or may not be accessed until a future date. The same organizational categories have been applied to the restricted materials as were used in the unrestricted materials to help researchers easily access overlapping and related materials that have been boxed separately due to the restrictions. The Oversize Materials Series contains miscellaneous oversize materials of a biographical and literary nature.
Acquired as part of the Sallie Bingham Center for Women's History and Culture.
Collection consists of about 150 zines, mostly self-published by women and girls in the United States. Subjects include feminism, riot grrrl, body image and consciousness, music, mental health, depression and mental illness, film, poetry, rock and punk music, comics, violence against women, sexual identity, homosexuality and bisexuality, transgender issues, and race. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
This collection consists of 367 zines dated from 1973 to 1995, likely collected by the donor from 1992-1995. The collection primarily includes personal zines by women (though some are by men) that focus on the riot grrrl scene, feminism, punk music, and progressive political causes. Many of the zines include correspondence from the authors. The collection also includes personal correspondence and correspondence from zine authors between 1987 and 1995, with the bulk dating from 1993 to 1995. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
In January 2013, Bill Brown donated his personal collection of zines, comprising 186 titles and almost 250 issues in total. Although Brown never actively collected zines, he was always eager to barter and trade with other zine makers. The resulting collection includes zines spanning from the mid-1990s to the early 2000s. The zines are arranged alphabetically by title.
Accession (2001-0009) (1500 items; 2.0 lin. ft.; dated 1993-1998) documents the behind-the-scenes work required to put together BUST. Materials include issues 1-15 of the magazine; layouts and copy-editing material; biographies of contributors; article submissions; column material ("Girls,""Fashions,""The Shit," etc.); advertisement documentation; correspondence (letter and electronic mail); press coverage of BUST; promotional material; material related to the publication and promotion of the book The BUST Guide to the New Girl Order; and a variety of graphic items, including color (9) and black-and-white photographs (6), original black-and-white ink drawings, and color prints (23), as well as color slides (12).
Accession (2009-0082) (24 items; 13.5 lin. ft.; dated 2002-2007) consists of production binders for issues 20-43 of BUST magazine, published from summer 2002 through spring 2007. Each binder contains a copy of the published issue, as well as tabbed sections for each portion of the issue, including features, columns, regulars, sex files, and guides.
Accession (2010-0101) (7875 items; 10.5 lin. ft.; dated 1993-2006) includes production binders, files from the creative director, and files from the Art Department.
Accession (2013-0184) (10125 items; 13.5 lin. ft.; dated 2008-2011) consists of production binders for issues 44-71, published from 2008-2011.
Accession (2015-0040) (1400 items; 3 lin. ft.; dated 2010-2013) consists of production files for issues 64-73, production binders for issues 72-86, and 13 Syquest discs from issues 4-9.
Accession (2015-0097) (1700 items, 4 lin. ft.; dated 1997-2012) consists of production files for issues 10-50, Creative Director Laurie Henzel's notebooks, and graphic materials including original art, color and black and white photographs and color layouts.
The Catherine Nicholson papers contain materials dating from 1897 to 2005, with the bulk of the collection dating from 1974 to 2005. Materials in the collection primarily document Nicholson's directing and theatre related activities, her work on Sinister Wisdom, and her membership in the group Old Lesbians Organizing for Change (OLOC). The collection comprises correspondence with family and friends; personal and professional writings; poetry; notes; clippings; photographic materials, including black and white and color photographs, color slides, and a cabinet card; audio cassettes; vinyl records; press kits and playbills; reviews about theatre and of plays directed by Nicholson; and ephemera. Included are play scripts written by Catherine Nicholson and other playwrights, and scripts with directorial annotations by Nicholson. The collection contains correspondence, artwork, journals, and receipts related to the publishing of Sinister Wisdom. In addition, the collection houses Nicholson's collection of audiocassettes and long-playing vinyl records, with the majority of albums related to women's music; many of these were published by Olivia Records. Printed materials have been removed and added to the Women and LGBT Rights Periodicals Collection. Use copies of audio recordings will need to be created before items can be accessed by researchers. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
Addition (2010-0068) (28 items, .1 lin. ft.; dated 1984-1985 and undated) comprises letters and cards addressed to Harriet Ellenberger, primarily from Susan Thompson.
The Common Woman Chorus records contain material dating from 1985 to 2015 relating to the group's musical and fund-raising activities. The records primarily comprise sheet music, concert programs, publicity, correspondence, and administrative records. Although the records contain mostly print material, a few color photographs, audiocassettes, videos, electronic word documents, t-shirts, and sweathirts are also included. Use copies of original audiovisual recordings will need to be created before items can be accessed by researchers. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
Collection is comprised of files documenting the development and daily operations of the Feminist Women's Health Center (FWHC), a feminist non-profit women's healthcare center, from the years 1974-2003. Major components of the collection include files from research studies conducted at the center, policies and procedures for maintaining the center, and incidents of anti-abortion protests at the center, specifically involving the group Operation Rescue. The National Abortion Federation, the professional association of abortion providers in the United States and Canada, also figures prominently throughout these records. The collection is organized into six series: Administrative Files, Clinic Files, Subject Files, Financial Material, Legal Files, and Audiovisual Material. The collection also contains a physically segregated Closed Series.
The Administrative Files Series most clearly documents the day-to-day operations of the FWHC. Materials in this series include policies, procedures, and guidelines for operation of the center; minutes and notes from a range of meetings held by the center; personnel files; and schedules. This series contains four subseries: General Administrative Files, Meetings, Personnel Files, and Schedules.
Materials in the Clinic Files Series include a range of records related to clinical services provided and research studies conducted at the FWHC. This series has been divided into four subseries: Statistics, Laboratory Statistics, Research, and Patient Education Information.
The Subject Files Series includes files maintained by the staff of the FWHC on a range of topics related to women's health issues, events, local information, and other women's health clinics. This series contains two subseries: a General subseries which covers these subjects broadly, and an Anti-Abortion Violence subseries which focuses specifically on anti-abortion protests at the FWHC and other locations, the anti-abortion movement in the United States, and pro-choice efforts to counter this movement.
Items in the Financial Material Series consist of records, reports, and files documenting the financial situation of the FWHC between the years 1982 and 2001. These files detail the intricacies involved in operating a women's health clinic from a financial standpoint.
The Legal Files Series contains files related to legal issues faced by the FWHC, including lawsuits and legislation which would affect women's reproductive health and the clinic.
The Audiovisual Material Series consists of 28 audiocassettes and 11 videocassettes. Audiocassettes are primarily recordings of workshops, conference sessions, and events. Videocassettes are primarily educational. One videocassette documents anti-abortion protesters outside the FWHC.
The Closed Series consists of sensitive materials removed from the previous six series and CLOSED to research.
The Irene Peslikis Papers span the years 1957-2002 and document Peslikis's life as a feminist artist, activist, and educator. The collection is organized into nine series: Feminist Activism, Correspondence, Writings, Personal Files, Subject Files, Education, Art, Printed Material, and Audiovisual Material.
The Feminist Activism Series is composed of materials from three key venues for Peslikis's feminist activist work: the New York Feminist Art Institute, the journal Women & Art, and the group Redstockings. This series includes organizational records, related correspondence and articles, exhibition announcements, and grant proposals.
The Correspondence Series contains letters, postcards, and cards received by Peslikis from family and friends. Frequent and/or notable correspondents include her immediate family: her mother, father, and brother, Michael; and friends Ursula Karau, Alix Kates Shulman, Rosalyn Baxandall, Robin Morgan, Carol Hanisch, Lucinda (Cindy) Cisler, Lucia Vernarelli, Pat Mainardi, Judy Chicago, and Shulamith (Shulie) Firestone. A smaller amount of outgoing letters is also included. Correspondence depicts Peslikis's work as an activist and as an artist, as well as her financial and medical difficulties.
Materials in the Writings Series include manuscripts, notes, notebooks, and journals kept by Peslikis. The Manuscripts subseries includes writings by people other than Peslikis which directly impacted her work, as well as drafts and outlines of Peslikis's publications. Notes, notebooks, and journals were all penned by Peslikis. Notebooks are primarily personal journals kept by Peslikis from her teenage years through the early 1980s and again from the early 1990s until the end of her life.
The Personal Files Series depicts the numerous financial, legal, and medical issues confronted by Peslikis over three decades. Peslikis received assistance in the form of Supplemental Security Income (SSI), food stamps, and subsidized housing for artists (at Westbeth Artist Housing), each of which required meticulous documentation in order to retain. A portion of this series is closed until 2099.
The Subject Files Series consists primarily of clippings and notes retained by Peslikis on a number of women- and feminism-related subjects, as well as on art, astrology, United States foreign policy, and Greek politics.
The Education Series is composed of files documenting Peslikis as a student, an instructor, and an instructor in search of employment.
Items in the Art Series include artwork by Peslikis, duplications of her artwork, sketchbooks, and files related to her exhibits, including flyers, reviews, and catalogs.
The Printed Material Series comprises periodicals, pamphlets, and printed essays. Subjects represented include feminism, Marxism, and art.
The Audiovisual Material Series consists of audiocassettes and super 8 film documenting discussions, meetings, and other events. Items are labeled with original descriptions provided by Peslikis. Also included is a VHS tape of a memorial service for Peslikis.