A busy pandemic for the Portman Archives

by Jill Sweetapple, SGA Blog Contributor

Westin Peachtree Plaza; ca.1976
© 1976 Alexandre Georges courtesy of the Portman Archives Interior of the Westin Peachtree Plaza by John C. Portman, Jr. with Olga De Amaral’s commissioned work, ‘El Gran Muro’, hanging within the central atrium.

Tell us a bit about the Portman Archive, for those who may not know about it.
The Portman Archives is the repository for the architectural and artistic contributions of John C. Portman, Jr. serving to promote and preserve his architectural philosophy and legacy. We are centrally located in the heart of Peachtree Center, one of his lasting contributions to the architecture of downtown Atlanta. The Portman Archives act to provide resources for research, digitization, and circulation of information and assets from our collections, internally, locally, and internationally.

What is your staffing, are you a lone arranger or are you a team?
Here at the Portman Archives, we are a team of three, directed by the leadership of the Portman Foundation. In addition to myself, the visual materials archivist, there are two other wonderful archivists, Becca Brown and Katie Twomey.

What kinds of collections do you have in your archive?
Our collections include architectural drawings, paintings, sculptures, artifacts, photographic materials, and marketing materials all related to Mr. Portman’s career as an architect and developer.

What were some of the changes in your job due to the pandemic and lockdown, and how did these changes reveal new opportunities?
During the pandemic we shifted our focus to digital projects, while also using the time away from our physical assets as an opportunity to revamp our archival policies and procedures. During this initiative, we streamlined our mission statement and collection policy and began working on a collaborative deaccession project that focuses on reducing our physical footprint, while ensuring retention and expansion of our digital collections. This exercise has been both challenging and rewarding!

My favorite example from our deaccession project has been working to rehome a beautiful set of Olga De Amaral weavings titled, ‘El Gran Muro’ that were commissioned by Mr. Portman in the 1970s to hang in the central atrium of the Westin Peachtree Plaza. While these weavings help to tell the story of Mr. Portman’s Westin Peachtree Plaza, we have come to realize that keeping the physical items is outside of our collection policy due to their scale and our inability to display them, especially with our move to smaller square footage on the horizon.

While the pandemic certainly made it more of a challenge to handle and show the weavings in-person to interested institutions, our deaccessioning initiative has really proven to create a new and exciting opportunity to build relationships with institutions who share our goal of making these assets accessible and able to be enjoyed by the public once again!

What prompted your move?
Our move represents a new direction for the Portman Archive as we aim to be more outward facing in our promotion of Mr. Portman’s legacy. Our new space will also position us closer to our sister companies within the Portman Companies so that we can collaborate more efficiently. We are excited about what the future holds for The Portman Archives and look forward to sharing with SGA in the future. If interested, please visit our website at www.portmanarchives.com!

Celebrating Georgia Archives Month with The Case of the College Sweetheart

By Autumn Johnson, Georgia Southern University

Georgia Southern University Special Collections continues its tradition of celebrating Georgia Archives Month with another exciting game experience for their campus community. This year’s The Case of the College Sweetheart is an immersive mystery game in which players must examine historical evidence and digital clues to solve the forgotten mysteries of Georgia Southern’s “Sweetheart” Campus. The game offers players an opportunity to engage with archival primary sources that document the historic area of campus in a fun and engaging way. The program builds upon the success of their 2019 Secrets, Sources, and Swamp face-to-face escape room but in a safer, semi-virtual environment that allows players to socially distance themselves.

The Game
Case of the College Sweetheart mystery game sets are available for checkout at the library checkout desk. A welcome letter included in the set introduces players to a fictitious, but real-world scenario that includes a series of interconnected puzzles. Working individually or in small groups, participants have a two-hour checkout window to examine physical game materials including archival documents, private correspondence, and campus memorabilia to help solve seven interconnected puzzles. Access to digital clues and puzzle prompts are available through the online game portal at georgiasouthern.libguides.com/sweetheart. The mystery is revealed to players by solving the final clue. Participants who successfully complete the game are eligible to enter a grand prize drawing.

The program will be available throughout October and is partially funded by the 2020 Georgia Archives Month Spotlight on Archives Grant.

Photographs from Emory’s Geoffrey Holder and Carmen de Lavallade papers are open for research

By Anicka Austin, Emory University Stuart A. Rose Manuscript, Archives and Rare Book Library and SGA Blog Contributor

In the gospel of Mark in the New Testament of The Bible, readers meet Salome, Herodias’ daughter. Herodias harbored a strong dislike of John the Baptist, who disapproved of her marriage to Herod, her previous husband’s brother. Herodias’ opportunity to enact revenge came unexpectedly when Herod gave a banquet on his birthday. Salome dances beautifully for Herod and his guests during the banquet, prompting Herod to offer Salome anything she wants. Salome asks Herodias what she should request, returns to Herod and says, “the head of John the Baptist on a platter”. Herod reluctantly acquiesces (Mark 6:17-29). This story has been explored by artists throughout history and choreographer Lester Horton almost obsessively recreated and reimagined it throughout his career.

Carmen de Lavallade as Salome, and in The Beloved, Geoffrey Holder and Carmen de Lavallade papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University

Carmen de Lavallade first danced the hefty role of Salome in Horton’s production when she was still a teenager.  Frank Eng, Horton’s business manager and partner, said she possessed “a youthful, lovely lyricism; an implicit and natural feeling for drama…and, most important, the drive.” (Bizot, 1984).  De Lavallade’s commanding presence and ability to tap into the dramatic elements of a work would be a defining quality throughout her career.

For de Lavallade, dancing with Horton helped shape her formative years. She recalls working with Horton’s company as being part of a team. The group did everything from painting sets to cleaning, which she says set her up for a well-rounded career in the arts (You Might Know Her From, 2020). This is evident in early photographs of the company, including depictions of de Lavallade teaching young students, performing Salome (1950-1953) and The Beloved (created in 1948), and working intently in rehearsal processes. She would help reconstruct Salome, or as Horton later called it, The Face of Violence, along with James Truitte for the Cincinnati Ballet Company in 1972 (Bizet, 1984).

Carmen de Lavallade with children, Geoffrey Holder and Carmen de Lavallade papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University

Throughout the collection of photographs in the Geoffrey Holder and Carmen de Lavallade papers, researchers might notice de Lavallade’s commitment to a variety of projects, which explains the range with which she performs. From actor to choreographer to dancer to educator, de Lavallade made her way through commercial film, Broadway, Yale Repertory Theater, and the stages of Paris where she danced with Josephine Baker. A series of negatives, slides and photographs show her journey through Southeast Asia as headliner of de Lavallade-Ailey American Dance Theater (1962). Her work with choreographer John Butler is also well-documented, including photographs of the well-loved Portrait of Billie (1960-1992) performed throughout several years.

Carmen de Lavallade and John Butler rehearse Portrait of Billie, and de Lavallade and Alvin Ailey on Southeast Asia tour, Geoffrey Holder and Carmen de Lavallade papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University

Through photographs, researchers can also see de Lavallade celebrated and celebrating at formal events such as Kennedy Center Honors and the “Divas of the Twentieth Century” award ceremony (1991).  De Lavallade’s life in photographs is rounded out by decades of headshots and documentation of dinners, parties and relationships with friends and family.

Carmen de Lavallade at White House, and with friends, Geoffrey Holder and Carmen de Lavallade papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University

The photographs shown here represent a fraction of de Lavallade’s early life (circa 1949-1968), but researchers can find photographs in this series from circa 1900-2017. Photographs of Geoffrey Holder’s life and career are also prominent. For research questions, please reach out to rose.library@emory.edu

Finding aid: https://findingaids.library.emory.edu/documents/holder1432/series2/ 

References:

Bizot, Richard (1984). Lester Horton’s Salome, 1934-1953 and after. Dance Research Journal, Vol. 16, No. 1, pp. 35-40. https://doi.org/10.2307/1478256

Bellino, Damian and Anne Rodeman. 2020 February 20. Carmen de Lavallade [Audio Podcast Episode]. “You Might Know Her From”. https://youmightknowherfrom.libsyn.com/carmen-de-lavallade

New International Version of the Bible. Biblica. https://www.biblica.com/bible/niv/mark/6/

Georgia State University Oral History Symposium Happening September 25

Interested in oral history? Georgia State University is hosting the first ever Oral History Symposium, Uncovering Hidden Narratives, on Saturday, September 25th from 9am to 5pm. The symposium was organized by oral historians from Atlanta History Center, Center for Civil and Human Rights, Emory University, Georgia State University, Kennesaw State University, National Park Service, Oral History Association, Storycorps, University of Georgia, and We Love Buford Highway. The symposium will kick off with keynote speaker Althea Sumpter with her talk centered on trauma in oral histories. Throughout the day attendees can choose sessions that best suit their needs and interests for those that are just beginning or thinking about starting an oral history project to those that are part of established programs. We will wrap up with a meet and greet where attendees can network with other attendees and organizations who support and manage oral history projects.

Maximum capacity for this event is 75 registrants. Masks are strongly encouraged to reduce the spread of COVID-19.

Register here.

We need a minimum of 25 registrations by September 10th in order for the program to proceed. All registrants will be notified by September 15th if the event cannot be held as planned and will be reimbursed for their registration costs.

Also, if you are knowledgeable about oral history yourself and would like to help, we are still looking for presenters in these areas:

Intermediate 

People with some experience in oral history (e.g. may have done interviews but may have not coordinated a project). They know what they don’t know. Sessions should present a skill that participants can begin practicing and perfecting. 

  • Funding (grants, Foundations, Federal) 
    • Creating a fundraising plan 

Advanced 

Experienced in oral history. Done many interviews and maybe some projects in the past. Don’t know what they really know (i.e. have lots of oral history practice but not much reflection on the process). Sessions should present a question for discussion. 

  • Beyond the University 
    • Use of oral history in non-academic efforts (e.g. corporate and community) 
    • Combination of academic, corporate, and/or community projects 
    • How much should funders control or have input into project design? 
    • How do you engage both interviewees and stakeholders in a project? 
    • What worked? What didn’t? What should be the takeaway from these efforts? 

A President in our Midst documentary will air on Tuesday, September 21st at 7 pm

A President in our Midst will air on Georgia Public Broadcasting on Tuesday, September 21st at 7 p.m. This compelling new documentary describes the mutual benefits that the friendship provided to both the President and the people of Georgia. 

Historic photos from the Little White House, Roosevelt Warm Springs Archives, the FDR Library, and archives across Georgia are featured in the documentary.  Additionally rare film footage from the Brown Media Archives at UGA Libraries and footage from the FDR Library are used.

In January, 2019, author and screenwriter Kaye Minchew of LaGrange and executive producer Dan White of Yatesville and Atlanta approached Georgia Public Broadcasting with a proposal to create a documentary about FDR’s life in Georgia based on Minchew’s book, A President in our Midst. With the assurance of a broadcast platform, efforts began to secure the financing and technical resources necessary to complete the film.

In January of 2020, Georgia Humanities agreed to be the official sponsor of the documentary and Georgia State University TV agreed to provide the technical expertise necessary to create the film. Filming began in September, 2020, in locations throughout Georgia.  LaGrange, Gainesville, Athens, Atlanta, Warm Springs, Thomaston, Barnesville as well as Harris, Meriwether and Upson County are all featured in the film. Using drone photography and location shooting, combined with archival photos and historical film clips, A President in Our Midst brings to viewers a contemporary image of life during the period 1921 to 1945.

Financing for the film was privately raised through public donations. In addition, the combined talents of over 70 Georgians helped create the finished product. Carol Howington Cain, James Fowler and Bill Murray are featured performers in the documentary. Oral history narratives from a variety of Georgians whose lives and institutions were profoundly shaped by FDR and the New Deal in Georgia are also featured. This most consequential of stories will be presented to a new generation of Georgians. 

The documentary recently received two awards from the Southern Film Festival, held in LaGrange. The documentary was named the best feature documentary and received the People’s Choice Award.  

Reflections on the 2021 Georgia Archives Institute

by Terri Hatfield, 2021 Carroll Hart Scholarship Recipient

As the 2020 recipient of the Carroll Hart Scholarship, I first want to thank the scholarship committee and the Society of Georgia Archivists for the award and the opportunity to attend the Georgia Archives Institute. What an incredible honor!

I can still remember receiving notice that the 2020 GAI would be cancelled mere weeks after being notified of receiving the scholarship. Though we all had become accustomed to the certain disappointment that came as the COVID-related cancellations and postponements started to pile up last year, this one was particularly hard for me to take. A year later, I was pleased to hear the scholarship had been extended to allow me to attend a virtual version of the Institute in 2021.

I have to admit: I was incredibly intimidated to be there! I have recently completed my MLIS and want to eventually work exclusively in archives, special collections, and public history, and so I desperately wanted to learn more about archives. Furthermore, alongside my primary duties as Program Coordinator for the Institute for Women’s Studies, an academic unit at the University of Georgia, I have also been informally tasked with managing the departmental archives, which include photos, newspaper clippings, memos, letters, flyers, posters, and other ephemera pertaining to the unit since its inception in 1977. So, I also desperately needed to learn more about archives. But I don’t currently officially work in an archive or library. On the first day, as the other attendees shared their backgrounds, anecdotes, and job titles, I worried my experience was too little and too informal to be there.

What made me feel more at ease was hearing many of the guest speakers talk about how the very nature of the ever-changing field of archives means you’re always learning something new, whether it’s a new practice in the field or a new item in your collection you’ve never processed before. So, you might always feel a bit like an ameatur. The key is being open to learning and changing with the field. And that’s why I was there: to learn!

And learn I did. I was impressed with exactly how much GAI was able to fit into a week and a day of courses. It was mentioned that each section of the Institute was approximately a full semester of coursework. I believe it. So much was covered, from selecting, acquiring, and appraising, to accessioning and deaccessioning, to arrangement and description, to copyright, security concerns, reference, instruction and outreach, diversity and inclusion, and more. So much more! Our primary instructor, Pam Hackbart-Dean, was awesome in keeping us focused and on these many tasks, and in managing the Zoom chat, questions, and other distractions. She was knowledgeable and personable and tried to make sure we all felt seen and heard.

From the practical lessons on preservation offered by Tina Mason Seetoo, such as how to remove a staple and how to dry out a dampened book; to the descriptions and explanations of activities and strategies of digital preservation (multiple copies, multiple media types, multiple locations!) provided by Katherine Fisher; to the crucial and invaluable reading and guest lecture on Anti-Racist/Anti-Oppressive Archival Description, the other faculty and guest speakers covered broad and extensive material for students to discover and consider further.

One of my favorite guest lectures was on Community Archives presented by Tamika Strong. What an interesting and important project preserving funeral programs as a way to document people’s lives and narratives! Tamika’s personal interest in and passion for the subject matter, combined with her knowledge of archives and the field, along with the practical breakdown of how the project came together in its various phases, made for a great presentation. I learned so much! Tamika mentioned that the biographies found in funeral programs are sometimes the only biographical information available to tell a person’s life story. This is a perfect example to me of the potential of intentional archival practice. I felt inspired and empowered by this presentation and it reminded me why I want to further pursue this field. Even better is that Tamika has an MLIS and is an alum of GAI – like me! How cool is that!? I hope to find my archival superpower like Tamika has, and be as effective and valuable to the field!

I would be remiss if I didn’t mention the awesome gift box attendees received during the week. What a pleasant treat! Thank you to the GAI board for the adorable mini Hollinger box that will sit atop my desk at work and of course for all the delicious goodies! While everyone else gushed about the praline (and rightfully so), the peach candies and vidalia onion petals are tied for my favorite! This gesture added a special touch to the experience and created a shared connection to what could have easily been a disconnected virtual cohort.

While I still feel like I have so much to learn, I’m excited to continue reading, doing, and building upon this knowledge base I gained at GAI. Of course I’m disappointed we were unable to do an internship as part of the virtual Institute, but after hearing from so many board members and representatives of archives organizations on the last day wrap-up, the potential for future collaborations or shadowing seems possible. I have already been able to apply some of the things I learned at GAI to my informal archival work in Women’s Studies at UGA and I’m excited to grow in the field.

I would highly recommend applying to attend the Georgia Archives Institute if you can. It’s an incredible and invaluable learning experience and I feel privileged to have been able to participate.

William Breman Jewish Heritage Museum

By Jill Sweetapple, SGA Blog Contributor

 On Spring Street in Atlanta, there is a wonderful museum which celebrates the many Jewish contributions to our city. I asked for details from Jeremy Katz, Senior Director of Archives for the Ida Pearle and Joseph Cuba Archives.

Jeremy, give us your Breman elevator speech!
The Breman Museum is Georgia’s Jewish museum, and it is our mission to connect people to Jewish history, culture, and arts. We accomplish this mission by utilizing our physical space, which consists of three exhibition galleries, an auditorium, and an archival repository that houses the largest collection related to Jewish history in the region. We also have an ever-growing virtual space that consists of online exhibitions, programs, and access to archival collections via industry leading content management systems.

COVID has created challenges for everyone, but the Breman used the time wisely. What was your big project, and why now?
The archives at the Breman Museum turned lemons into lemonade and utilized the extra time at home to completely overhaul our entire CMS. We migrated from outdated, siloed systems to the industry leading ArchivesSpace, Aviary, and CollectionSpace. We recently joined the Archives at Yale as the only two repositories to integrate and sync Aviary with ArchivesSpace. Our endgame is to unite all this information into one public search portal like BentoSpace.

What made you choose the platforms you did for your collections?
Our staff decided on these platforms after years of research, planning, and fundraising. At the heart of the initiative was the primary goal of lowering barriers to collection access. After consulting with colleagues, vendors, and supporters we decided to work with LYRASIS to migrate to ArchivesSpace and CollectionSpace, and AVP to migrate to Aviary. This overhaul has drastically improved both administrative workflows and the user experience, as well as exponentially increased access to our collections.

What were a few of the biggest challenges for the project? What went well? What didn’t go as well?
One of the biggest challenges to the project was a double-edged sword. Working from home allowed extra time to focus on the project but is also created fact checking barriers. If we came across a possible error in a finding aid, for example, we could not double check the physical record to ensure accuracy. Besides the physical barrier due to COVID, everything went extremely smooth with the migration. That is a testament to our staff in the archives at the Breman and our support teams at LYRASIS and AVP.

Do you have any advice for anyone else planning to choose a new CMS?
Every institution is different so find the solution that works best for your content. Analyze your data and how it is structured, research the latest systems available, and budget the resources needed to achieve the migration. I also highly recommend the solution that we chose should your research point you in that direction. Seeing our content become more accessible than ever before has been one of the most rewarding experiences of my career.

I hear an anniversary is coming up, how do you plan to celebrate?
Another project we worked extensively on over the past year is our new exhibition opening this September in honor of the Breman Museum’s 25th anniversary. History With Chutzpah: Remarkable Stories of the Southern Jewish Adventure, 1733 – Present, focuses on the archives and how we preserve and democratize access to the stories of our community. I hope you all can visit the museum to see the show after it opens in a few short weeks!

Scripts in the Geoffrey Holder and Carmen de Lavallade papers at Rose Library are open for research

By Anicka Austin, Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library, SGA Blog Contributor

Roger Moore had tough shoes to fill when he took over the job of depicting Ian Fleming’s James Bond in 1973’s Live and Let Die. Bond, up until that point, was played by a relatively well received Sean Connery and once by George Lazenby. Another Roger (Ebert) called Moore’s performance humorless, saying “Moore has been supplied with a lot of double entendres and double takes, but he doesn’t seem to get the joke.” (Ebert, 1973) While Moore’s lack of wit may have been a shortcoming, Geoffrey Holder’s scene-stealing portrayal of Baron Samedi held the “convoluted” (Mager, 2001) film together. Holder’s guttural laughter and mischievousness as the loa of the dead gave some weight to vodou themes in the film, as did his choreography.

Holder’s choreographic vocabulary is reflected in several moments in the film. In an opening scene on the fictional Caribbean island, San Monique, an MI-6 field agent named Baines cowers as Dambala dances a snake in front of his face. Behind Dambala, a crowd of people dressed in white step side to side, contracting and releasing their spines in a ritual dance. A revised Live and Let Die script described that same crowd in a later scene:

Ext: VOODOO CEMETARY – NIGHT

Lines of WORSHIPPERS and ACOLYTE GUARDS sway back and forth to the beat of drums, chanting. Oddly-dressed people of all sorts: WOMEN with cigars and bowler hats, MEN with rum kegs smoking root drugs, most wearing strange fetishes and amulets. A large cross-like stake with ropes hanging from it has been erected nearby, exactly in the place where we saw BAINES killed in the pre-title sequence. DAMBALA stands by the stake, takes in the proceedings, looks off as if waiting for something.

Holder’s relationship with Haitian vodou, and particularly with Baron Samedi, permeates through most of his work. His early writings, including Les Mysteres (undated), depict the goings-on of several loas, including Baron Samedi, Erzulie, and Agwe as well as Hector Hippolyte, a Haitian painter and spiritual leader from whom Holder drew inspiration. 

An excerpt from Les Mysteres:

The languid brown hand draws another delicate tracery on the orange earth: the vever of Ogoun. . .God of fire and might, power, authority, triumph, politics, war. Being an honest hero, a real shaker of history, Ogoun wears the sad tortured face of Christ, just unhung from the cross. The martyred warrior hero; his flesh is impervious to wounds but his spirit is not. The sword is sacred to him, the blood color of red, and the flames of burning rum on the earth are his salute. Thunder is the sound of Ogoun announcing that his balls are cold and he demands a drink of rum which he spits through his teeth.

Access to Live and Let Die and Les Mysteres is now available in the Geoffrey Holder and Carmen de Lavallade papers. Holder and de Lavallade were both heavily involved in and influential to modern theatre, dance, and visual art. Scripts in Holder’s papers include other original writings such as The Odyssey of Anna and the Red Pumps (circa 1991-2002) and Sister Alice in Wonderland (circa 1998-2008). Holder, whose work truly ran the gamut, was also featured in ads for 7-up, as narrator for films like Charlie and the Chocolate Factory (2005), and as “Chef Geoffrey Lamont” on The Cosby Show (1990). These scripts and more, including several drafts of the Broadway productions The Wiz and Timbuktu, which Holder directed and costume designed, are well represented in the collection.

Researchers interested in learning more can view the finding aid, learn how to request materials from the Rose and contact reference services to make an appointment (rose.library@emory.edu).

References: 

Ebert, Roger. (1973 July 6). Live and Let Die movie review. https://www.rogerebert.com/reviews/live-and-let-die-1973

Mager, William (26 July 2001). Live and Let Die. BBC. http://www.bbc.co.uk/films/2001/07/26/live_and_let_die_1973_review.shtml

Georgia Archives Institute 2021

By Jill Sweetapple, SGA Blog Contributor

2021 Georgia Archives Institute Graduates

We, the GAI board, were disappointed last year, when the 2020 Georgia Archives Institute had to be cancelled due to COVID 19, and wanted badly to hold the Institute this year. After much discussion, the board decided on an all-online format. Sadly, this meant there would be no internships, but cancelling for a second year seemed so much worse. GAI 2021 concluded on June 14.

We were again lucky to have Pam Hackbart-Dean as our primary instructor, as well as Tina Mason Seetoo on Preservation and Katherine Fisher on Digital Preservation. To give everyone a breather now and again, we enlisted the help of guest speakers. Our topics included Anti-Racist Archival Description, Content Management Systems, Born Digital Records and Working with Community Archives. Our guest speakers volunteered their time and we valued the addition of other voices in archives for the students.

Meeting online via Zoom meant there would be no reception. The 2021 class had twenty-one students, and thanks to our sponsors, we sent everyone a goodie box with Georgia-themed treats and a mini Hollinger box. We hosted students from all over Georgia, but also from Connecticut, Alabama, Texas, Florida and South Carolina.

We also hosted several scholarship-supported attendees. We thank the Society of Georgia Archivists, the Friends of Georgia Archives and History, Georgia Public Library Service and the Georgia Historical Records Advisory Council for providing these opportunities for attendees that may not have been able to take part otherwise.

On the last day of the 2021 six-day course, students, instructors and board members met for an informal online wrap-up. We heard about the Society of Georgia Archivists, the Clayton State Archival program, and the Regional Archival Associations Consortium, and heard from students about their experiences at this year’s Institute.

Our GAI sponsors include BMS Cat Fire, Water & Reconstruction Services, the Georgia Archives, HF Group, Hollinger Metal Edge, the Digital Library of Georgia, Master Enterprises, Inc., Patterson Pope, Preservation Technologies, PreserveSouth and the Society of Georgia Archivists.

We certainly hope that the 2022 Institute, scheduled for June 6 through June 17 2022, will once more include internships, a reception and our ability to meet everyone in person. You can keep an eye on our renovated website and our Facebook page for updates. In the meantime, we congratulate the 2021 graduates!

https://www.georgiaarchivesinstitute.org/
https://www.facebook.com/georgiaarchivesinstitute

The Supply Side

By Jill Sweetapple, SGA Blog Contributor

Adding the Hollinger metal edge, Photograph courtesy of Bob Henderson

If you have been a member of SGA for more than a couple of years, you may have seen Bob Henderson and his table for Hollinger at annual meetings. But what do you know about Hollinger, really?

Who started Hollinger Metal Edge and when?


The Hollinger Company was started by William Hollinger in 1945. Mr. Hollinger worked with officials from The Library of Congress and National Archives to develop archival paper & board for long term storage. Following on the success of The Hollinger Company, in 1995 Bob Henderson along with the late Larry Gates formed the archival division of Metal Edge, Incorporated. After many years of collaboration, The Hollinger Company and Metal Edge, Inc. merged in 2008 to become Hollinger Metal Edge, Inc.

How many staff do you employ?
Currently 35

Most of us are familiar with the standard supplies, but tell us about the product assembly department.
The Hollinger Box begins from a large sheet of board. From there, we run the large sheet of board through a slitter to get a much smaller size sheet to accommodate the Hollinger Box cutting die. On to the die cutter, each Hollinger Box gets die cut from a single sheet of board. Think of the die cut as a cookie cutter. We can mend metal dies to make almost any shape we want. The final process in making the Hollinger Box is applying the metal edges. Our metal edge machines apply one edge at a time and resemble a large free standing sewing machine. Operators pre-fold each box and add a pull string prior to applying the metal edges to each box.

What has been the biggest challenge for Hollinger during COVID?


With the Global shutdown, we were not able to receive or ship orders. During the Summer of 2020, we noticed a small opening of Universities and Museums. Due to them, we were able to survive as a business and keep our employees employed. The Spring of 2021 is when we have noticed the biggest gain in orders, and we are hoping by Fall of 2021 we can resume operations at full capacity.

Tell us about the new website!


During late Spring of 2020, while working from home, we decided to focus on the future by building a new website from the ground up. This process was done between many people collaborating from their makeshift home offices. We wanted more than a fresh new look. We wanted a better browsing and purchasing experience. Our new web platform allows us to make immediate changes, so look for new product and new product pictures in the near future.

What is your best seller?


The first product made by Hollinger Metal Edge was the document case, better known as The Hollinger Box. This product today, in legal and letter size, continues to be our best seller. Of course, no Hollinger Box is complete without Hollinger File Folders.

How, if at all, will Hollinger change after the previous “unique” year?


As a small business, we have a better understanding of how essential our employees, vendors and customers are to us. Though the world is big, we operate in a small cottage industry where self-reliance is omnipotent. The phrase “thank you for your order” has a new-found significance.