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This collection contains documents, reports, historic memorials, newsletters, periodicals, yearbooks, and other materials pertaining to various organizations and governing bodies around Florida, including the State Board of Education in Florida, Daughters of the American Revolution, the Coral Gables Garden Club, the Florida National Group of Banks, the Coral Gables Women's club, and so on.

Donald W. Thomson worked for Pan American World Airways from 1932 to 1976 when he retired as the company's treasurer.  His papers include corporate records, memoranda, reports, memorabilia and photographs.  Bound volumes of annual reports and books were separated from the collection for cataloging.

This collection contains meeting minutes and agendas from the Miami-Dade County Board of Public Instruction and the Board of County Commissioners, spanning from 1962-1965.

The Carson papers contain correspondence, newspaper clippings, outlines and drafts of campaign speeches.  The materials, dated 1915-16, document Carson's efforts to enlist a candidate in support of drainage of the Everglades, his efforts on behalf of the Farris campaign, and his views on the drainage issue.  Correspondence also provides information on the activities of other groups supporting the Farris campaign, including the Everglade Drainage and Development League, "the Commercial Bodies of Miami and Ft. Lauderdale" and the Boards of Trade of Dania and Pompano.  Additional letters and newspaper clippings provide supporting documentation on the role of the drainage issue in the 1916 gubernatorial campaign.

The Dade County Commission records contains minutes of the Dade County Board of Commissioners from October 1957 to July 1965.

Janet Reno (1938-2016) was born in Miami, FL and was an American lawyer, the first woman to serve as State Attorney for Florida (1978-1993), and first woman to serve as Attorney General of the United States (1993-2001). Her papers include personal correspondence and files, topic files, campaign materials, court documents, newspaper clippings, as well as videotapes, photographs, and audiocassettes pertaining to Janet Reno’s years of service as the State Attorney for Florida, her time as Attorney General of the United States, and when she ran for governor of Florida.

This collection houses archival materials pertaining to the history of fashion on a global level and currently features 65 issues of the popular French publication, Art-Goût-Beauté, from the years 1921 to 1932 and assorted French clippings and pamphlets.

This collection contains documents related to the SAVE History Project, which documents the operations and activism efforts of Safeguarding American Values for Everyone (SAVE), a grassroots nonprofit political advocacy organization located in Miami, Florida. Founded in 1993, the organization's stated mission is to "promote, protect and defend equality for people in South Florida who are lesbian, gay, bisexual and transgender."

This collection contains photographs, audiovisual materials, documents, meeting minutes, training materials, ephemera, and other records which document the evolution and activism of SAVE, including its predecessor organization, the SAVE Action PAC.

The Documenting Diversity and Democracy in Brazil collection consists video recordings from sessions at the Documenting Diversity and Democracy in Brazil symposium, held virtually at University of Miami from April 12-13, 2021.

This symposium was created thanks to a grant sponsored by University of Miami Libraries as part of the CREATE Grant Fall 2019 grant Cycle Awards. The symposium was established to highlight the unique and richly-textured Leila Míccolis Brazilian Alternative Press collection. The event featured keynote presentations by João Silvério Trevisan (Brazilian LGBT activist, journalist, and novelist), Dr. Leila Míccolis (Lawyer, activist, and writer) and Sonia Guajajara (Brazilian environmental and indigenous activist and politician), alongside invited papers of scholars who had worked with the Collection to showcase intersectionalities and (dis)connections between burgeoning social and political movements in Brazil from the military dictatorship (1964–1985) to the present day, as well as works focusing on human rights, social justice, and cross-fertilization of historical and sociopolitical trajectories that shed more light on recovering the voices of marginalized Brazilians.

George Abbott (June 25, 1887 – January 31, 1995) was a famous and well-renowned playwright, producer, and director who worked out of New York City for most of his life until he retired and passed away in Miami Beach, Florida. Over the course of his career on Broadway, he received many awards and accolades for his work, including several Tony Awards, the Pulitzer Prize for Drama (1960), and the Drama Desk Award for Outstanding Director (1983). To celebrate his vast contributions to the world of theater, George Abbott also had both a theater building, which was unfortunately demolished in 1970, and a street in New York Times Square, George Abbott Way, named after him.

His papers feature photographs, playscripts, playbills, financial documents, official records, music sheets, and other materials associated with his life and work on Broadway.

Julia Dawson is a feminist activist and retired lawyer born and raised in Miami, Florida. Through correspondence, documents, ephemera, and other records, this collection documents Dawson's activism, organizational work, and campaigns from the 1970s through the 2010s around feminism, civil rights, and LGBTQ+ rights. Organizations and campaigns represented in this collection include: National Organization for Women (NOW); Dade County Chapter of the Florida Association for Women Lawyers; SAVE Dade (LGBTQ+ rights activism); American Civil Liberties Union Miami Chapter (ACLU), including the ACLU Miami Chapter’s Police Practices Committee (PPC); Miami Clinic Access Project (reproductive rights); Miami Workers Center (MWC); and Serve the People.

The Andreyaa Hora artist sketchbooks collection consists of Hora's complete works in sketchbooks from the period 2008 to 2019.

Collection description, provided by Martin Tsang, Curator of Latin American Collections:

The fifteen sketchbooks that represent a significant portion of the artist’s work, to date, include an incredible variety of media - drawings, prints, quotes, gathered materials such as clippings and test pieces. The themes present in the pages of the books refer to and draw upon numerous Afro-Atlantic traditions, including Haitian Vodou, Brazilian Candomblé, Cuban Lucumí, as well as Yoruba, Fon, and Kongo ethnic and spiritual African sources. There is inspiration, for example, from specific orishas such as Oyá, the transformative goddess of the Harmattan winds, the marketplace, and owner of the cemetery gates, as well as more elusive traditions including Santa Muerte. In Andreyaa Hora's sketchbooks, Caribbean and Latinx artists are present and referenced as wellsprings of inspiration, as are European, Asian, and Indigenous connections. The sheer variety of media shows how the artist works out her ideas on paper and devises approaches to best convey matters of the spirit, the mind, and the body. The sketchbooks offer a tantalizing and inspirational glimpse into the creative processes of making the abstract concrete and beautifully demonstrate and bring to life the many deities who travel between and beyond Africa, the Americas, and the entire world. The books reflect a deep spiritual connection to the divine as captured by the hand and heart of someone who is careful and concerned with safeguarding ritual knowledge while utilizing a wealth of techniques that help bring art to life.

Artist's statement:

"My interest in art began early for me. From the age of eleven, I began taking art lessons in school in my hometown of Ilheus, in the state of Bahia, Brazil. My father, an architect, was a tremendous influence on my style and his work blueprints helped me understand and define spaces through lines, shapes, and forms. Through watching my father work and under his tutelage, I gained an appreciation of geometry and scale and working on paper to create pieces that could be developed into larger pieces, and also the importance of playing with materials and experimenting with forms. This early start in and out of school led me to further my abilities by taking private lessons with local artists that helped challenge my abilities and ways of seeing. Ultimately, these artists fostered inside me an abiding fascination with art that continues to this day.

I continued my studies at the University of La Rochelle, France and continued my practice under the guidance of local artists engaging with painters across the Niort region. In 2008 I became deeply interested in printmaking, inspired by the work of David Jones and Eric Gil whose work I saw in Wales in the UK. This period was a pivotal moment for me as this medium became my anchor in my mode of artistic expression. From this time, I also explored and embraced digital media and developing artistic technologies to further my methods. Viewing the work of James Jean was my inspiration to venture and experiment in new realms.

It was while studying and working on art in Europe that I began to appreciate the history and migrations that created the Lusophone Atlantic movements over the centuries. Through my art I started to explore and express facets of my Brazilian culture and my work is heavily inspired by deities of the African descent actively worshiped in Brazil and many countries of the Americas through the project of Trans-Atlantic slavery. The orishas - the pantheon of gods and goddesses are greatly present in my art and I explore ideas of contact and strategy of religious expression with references to deities in other African derived religions, indigenous beliefs, and the inclusion or transformation of European deities and philosophies by practitioners. I am particularly interested in exploring ideas, effects, and the presence of LGBTQ practitioners and how these are reflected in images of the divine in these Afro-Atlantic religions. I became fascinated by cordel - woodcut printed literature production of artists who I worked with in northeast Brazil. As an orisha priest and practitioner, I have devoted a considerable amount of my artistic output to creating works that reflect these deities in different methods drawn from these methodologies and my work is often commissioned by practitioners and my art now represents a movement of signifying worship in private and public ways.

I use a variety of printmaking techniques. I use manual techniques such as woodcut and linoleum which give my art a homely, rustic feel reminiscent of the art of Northeast Brazil which is close to my roots. I also use digital painting techniques that are rich in texture and colours. Whichever method I use, I start by sketching out my ideas in my notebooks which record my thought processes and studies much in the same way as a filmmaker would create a storyboard. From the outset, sketchbooks are key to my art process as they are a place to gather information: quotes, photos taken from a variety of places, works from the myriad of artists who inspire me, old and new. My sketchbooks have been shared with very few people as I am a perfectionist I would rather show a finished piece. My books represent the unfinished and undone, even messy work that includes my sketches and some are uncomfortable or dark visual thoughts, things that I feel I need to have an outlet for however I know will probably not make it into my exhibited works.

I create art because it is an intrinsic part of who I am and what I do. I couldn’t put into words what compels me to do it – I cannot imagine doing anything else. I take inspiration from folklore, music and the world around me and the world inside of me with all its contradictions, queerness, and search for the divine."

A collection of 47 black and white prints (17 x 11 in.) of Alberto Sisso's photography. Notable prints include scenes around Venezuela, and prints from the following photo projects, "Metamorphosis," "Being There," and "Nuevos Espacios." Descriptions by Alberto Sisso for each photo project represented in this collection can be found below:

"Metamorphosis"

"The pictures on this series depict a group of artists getting ready for a play about the legacy of Florence Foster Jenkins. Ms. Jenkins was many things, but overall, she represents the freedom to be who you are. Although, she was the recipient of some of the silliest music criticism of all time; she became an icon for standing your ground regardless of what others might think.

These images take this message a step further by challenging traditional gender roles and emphasizing the universal themes of Jenkins' story. By casting men in the role of Jenkins, the images showcase the power of individual expression and the freedom to be oneself, regardless of gender identity or societal expectations. Men dressing as women in Latin America in the 1970s was not visible or accepted. These scenes were linked to an underground movement that supported the LGBTQ+ communities, and that often met with stigma and discrimination.

In Metamorphosis, I thrived to expose the deep melancholy of the moment, as well as the enduring love for the magnificent theatrical gesture. I looked for images that capture the bond between the artist and the person's essence. The looser frame allowed me to create compositions that transcended the image from its ordinary status into something unique. With each take I was hoping to deliver a particular emotion, kind of a blend of something classic with an everlasting experience. A way in which we can all see ourselves echoed in, not as a cliché nostalgic approach, but more in a reflective manner.

Depicted in these photographs are:

• Manuel Carvajal: stylist and make-up artist.
• Isabel Palacios: well-known mezzosoprano and director of several choruses.
• Francisco “Pancho” Salazar: director, musician.
• Alfredo Silva: poet.
• Jose “Cheo” Vaisman: pianist, director of Teatro Teresa Carreño."

"Nuevos Espacios"

"In the 1980s, the art scene in Caracas was booming, and the Contemporary Art Museum was at the forefront of the movement. Led by her director, Sofia Imber, the museum embarked on a much-needed expansion project, named Los Nuevos Espacios, which would go on to become an iconic institution in the city.

Imber was a trailblazer in the art world of Venezuela, and her dedication to promoting and supporting Venezuelan artists was evident throughout her career. Under her leadership, the Contemporary Art Museum became a hub for the country's avant-garde art scene, showcasing the works of both established and up-and-coming artists.

I had the privilege to document the night of the inauguration of Los Nuevos Espacios. It was a momentous occasion, and one that would go down in history. The walls of the museum were filled with the work of some of the most prominent artists of the time, including Alejandro Otero, Jesús Soto, and Carlos Cruz-Diez; and its corridors where packed with the best of the Venezuelan society. Representatives from the artistic milieu, politicians, entrepreneurs, and mainly art supporters and art lovers were present to bear witness of the making of the country’s modern history (the captions on each image list the names of some of the personalities in attendance).

Imber, beaming with pride, took the podium to give a speech, expressing her gratitude to everyone who had made the project a reality. For her, the expansion of the museum was more than just a physical transformation. It was a symbol of the evolution of Venezuelan society and the country's commitment to promoting and celebrating its cultural heritage. The museum was a testament to Imber's lifelong dedication to the arts and her unwavering belief in the power of creativity to transform communities. Imber's legacy continues to inspire and influence the arts in Venezuela, it lives on through the museum and the countless artists whose careers she helped launch. Sofía Imber was a visionary and true champion of the arts.

This series stand tall as a testament of the cultural memory of Venezuela, reminding future generations of the impact that Nuevos Espacios and Imber had on the art world."

"Being There"

"Jerzy Kosiński was a Polish-American writer who was known for his novels, including "Being There" and "The Painted Bird." In the 1980s, he was invited to Venezuela by the Diego Cisneros organization to participate in a cultural exchange program. As part of this program, Kosiński visited the Museo de Arte Contemporáneo in Caracas, which is one of the most important museums of contemporary art in Latin America, a must see stop and a city pride for all Venezuelans.

Kosiński's visit to Venezuela was part of a larger effort by the Diego Cisneros organization to promote cultural exchange between Venezuela and the United States. His visit to the Museo de Arte Contemporáneo was a significant cultural event, and it helped to strengthen the ties between the two countries in the realm of the arts. This series documents that visit."