Picture shows the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizontally-angled rectangular table with a dark wood base. A white and brown paper owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map representation of the travels the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric shapes adorn the linen top. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African American musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a view of Jaynes’s Gift #6, the scent mechanism the olfactometer, in a niche in an off-white curved wall. The floor of the room is covered with a tan colored carpet. [end of description]

Common Touch: Coda

Photo shows a large group of individuals gathered in front of Teresa Jaynes’s Gift #4 of nine green, yellow, and brown screen prints. The screen prints depict grid patterns. In the right of the image, a young woman attired in black pants and a short-sleeved teal blouse with a flower pattern on the edge, slightly hunches over as if listening to something. Her right hand is to her ear and her left hand holds a large envelope to her waist. To her left, are two women. They lean and bend over in listening stances. In the left of the image, is a group of men and women in summer clothes. They look toward the women standing in front of the screen prints. The screen prints are hung above a short white-colored floor riser. [end of description]

A Diverse Take on Common Touch: How adapted tours help visitors with disabilities access the exhibition

Picture shows the majority of the gallery, including four of Jaynes’s seven installations on view. In the center foreground is Jaynes’s Gift#1 on display on a flat, horizantally-angled rectangular table with a dark wood base. A white and brown paper maiche owl rests on a cylindrical stand to the left of a large open book under a rectangular, clear acrylic hood. To the right of the display with the owl stands Jayne’s Gift #5, a map represention of the travels of the 19th–century blind surveyor John Metcalf. It is a vertically-positioned, large rectangular table composed of a a padded linen top and a light brown wood base. A multi-color grid, outlines of geometric shapes, and green porcelain geometric forms adorn the linen top. To the left of the owl display is a partial view of a case of historical materials. In the left backround is Jayne’s Gift #3 inspired by the mathematical tools of the blind mathematician Nicholas Saunderson. It is a light brown table on which several large-sized wooden geometric shapes of different styles rest. In the center background, on the back wall painted off-white, is Jayne’s Gift #4, a visual transmutation after the musical work of blind African Amerian musician Thomas Wiggins. It is three horizontal and three vertical rows of prints in a geometric interplay of greens, browns and yellows. To the right of the prints on the wall is a small wooden frame in which brass musical notes are displayed. To the far right background is a partial view of an off-white curved wall. The floor of the room is covered with a tan colored carpet.

Common Touch Now on Display

Picture shows an open volume of an 1838 edition of “The Students' Magazine: Published Monthly, at the Pennsylvania Institution for the Instruction of the Blind.” The text is printed in raised-letter line type. The volume is open to an oblique view of a title page. Letters are in capitals and the text is not easily legible given the angle of the view. Part of the header is legible and reads: "STUDENTS’ MAG." Part of the opposite page with embossed type is visible. [End of description]

The Pennsylvania Institution for the Instruction of the Blind Printers: Kneass and the Sniders.

Picture shows a four-story rectangular building with many rectangular windows. The building includes two front entrances with porticos. The structure is white, and its front is lit by sunlight. Pedestrians – eight total with six men, two women and one boy – walk on the sidewalk in front of and across from the building. Small trees evenly line the sidewalk in front and to the left of the building. A dark-colored watchman’s guardhouse, shaped like a chimney, stands across the street from the building. A man with a cane, and a boy, holding his hand, walk past the guardhouse. The boy appears to be gesturing in the direction of the guardhouse and the building. Text printed below the images reads: “Lith. Of J. T. Bowen, Phila. Pennsylvania Institution for the Instruction of the Blind. Published by J.T. Bowen at his Lithographic & Print Colouring Establishment, 94, Walnut St Philada. Entered according to act of Congress in the year 1840 by J. T. Bowen in the Clerk’s Office of the Dt. Ct. for the En. Dt. of Pa.[End of description]

Visual Record of the Pennsylvania Institution for the Instruction of the Blind

A Vision Council

Picture shows a close-up of a section of text from an 1863 playbill. Text reads from top to bottom: Part Second [next line].Overture, ---Orchestra. [next line]Comic Song,--- P. Williamson. [next line] Guitar Dnet [sic], ---Marion Brothers. Slight Skirmish: or, the Best Way to Settle It. [next line] George White and P. Williamson. [next line] Ethiopian Jig, - - - J. H. Barleur. [next line] Pathetic Ballad, - - - Billy Rose. [next line]. Seeing the Elephant, [next line] Hilfrem, Hirst and Burr. [next line] Comic Song - - - Ed Shaw [next line] Essence of Old Virginia, - - - J. H. Barluer [next line] [image of pointed finger] Black Blunders, [image of pointed finger] [next line] Geo. White and P. Williamson. [next line] Song and Dance, - - - Ed. Shaw [next line] Overture, - - - Orchestra. Text is surrounded by a rectangular-shaped border composed of two parallel black lines, one thick and one thin. [End of description]

Seeing the Elephant

Thomas Greene Bethune, known as Blind Tom, ca. 1870. Black & white photograph. 4 x 2.5 in. Picture depicts the carte-de-visite portrait photograph of musician Thomas Greene Bethune, later Wiggins, known as Blind Tom. Shows the young African American man from his waist up, his body slightly angled to the viewer’s right. His tightly curled hair is shortly cropped. His eyes are closed. He wears a white shirt with a turned down collar. Under the collar is a dark cross tie. He also wears a dark jacket with wide notch lapels, several creases around the waist, and the top button fastened. The photograph is framed within a rectangular shape printed with a thick gold line surrounded by a thin black line. The frame is on light-colored paper. The top edge of the frame is slightly rounded. Hand written text below the portrait reads: “Blind Tom” [End of description]

Race, Celebrity, and Disability in the Collections

Picture shows a pencil sketch titled “Front View” on an 8 1/2 x 11 in. piece of white paper with faint, vertical ruled black lines. In the center of the page is a tall, vertical rectangle. A measurement line labeled “20 [in.]” runs horizontally along the inside bottom edge of the rectangle. A long measurement line runs vertically along the right side of the rectangle. The line is divided into four segments and labeled, in the right, from bottom to top: “28 [in.]”; “30 [in.]”; “5 [in.]”; “20 [in.].” The rectangle is divided into four segments. The segments are labeled, in the left, from bottom to top: “Olfactometer”; “Hood”; “Fan”; “Vent.” A two-dimensional view of a table cuts across the lower one-third of the rectangle. A measurement line labeled “6’” runs horizontally below the illustration. A measurement line labeled “7’” runs vertically to the right of the illustration. [End of description]

One Year In

Picture depicts the black and white cover of Ann Millett Gallant’s book “The Disabled Body in Contemporary Art.” The illustration is a reproduction of Joel Peter Witkin’s 2003 photograph “First Casting for Milo.” The image shows a female model with shortened arms, standing, her skin painted white to resemble marble. She wears a white-powdered wig of wavy hair styled into a low bun; a white, structured bra; and a grey, heavily wrinkled large piece of fabric that is bunched and cinched at her waist to create a floor-length skirt. Her head is turned in profile to the viewer’s left. Her right arm, shortened just below the elbow, rests slightly away from the right side of her body. Her left arm, shortened above the wrist, extends from her left side and rests on the top of a pole. A branch with flowers emerges from the pole. She stands on a marble pedestal. The top is barely discernible. A small dog stands at an angle beside her, at her feet, and to the viewer’s left on the pedestal. The pointy-eared, squat dog is completely white except for black patches around his eyes and his left ear. The dog looks to the viewer’s left. In the upper left, across from the model’s right shoulder is a disembodied hand holding a film director’s clapboard upside down. Grey and silver splotches create a spectral background. In the top left corner, is the text: The Disabled Body in Contemporary Art. Above the head of the dog and in the center-left edge of the cover is the text: Ann Millett Gallant. [end of description]

On Art and Life

Picture shows the upper edge of a writing board or tablet over a white background. The tablet is made of a brown cardboard-like material with a faded pink and blue marbled pattern and has raised, tactile, evenly spaced bars on its surface. In the center of the first bar, handwritten script reads “Mrs. E. A. Lusk.” [End of description]

A Gracious Contributor to “Common Touch”

Picture shows a bust-length lithographed portrait of Albert Newsam. His body is slightly angled to the viewer’s left and his gaze looks slightly to the viewer’s right. He has dark hair, parted on the left side to the viewer, and worn slightly long and swept to the sides. He also has side burns. Newsam wears a jacket with wide notched lapels that are partially in velvet and over a loose fitting vest and a white shirt. He also wears a cravat with the ends hanging loosely. [end of description]

On Visual Eavesdropping and the White Noise of History: Albert Newsam and Visual Culture in Nineteenth-Century America

Picture shows view of a panel of people from the perspective of an audience member. Three women and a man sit at a table covered with a black fitted tablecloth. A paper coffee cup with lid, metal water pitcher, a pile of lanyards, and a water bottle are on the table in front of the panelists. Two screens, including one with closed captioned text, and a podium pushed against the wall are visible. In the foreground, audience members, including a female wheelchair user, are seated. The room contains beige paneled walls and patterned carpeting.

My First SDS Conference