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Bettye J. Stull

Curator and arts educator Bettye J. Stull was born on June 13, 1931 in Wheeling, Virginia. After moving to Columbus, Ohio at the age of seventeen to live with her great-aunt, Stull became an administrative coordinator for the Columbus Recreation and Parks Department, where she worked for over thirty years. In 1971, Stull married ceramic artist Robert Stull, who became a faculty member with the art department at The Ohio State University in Columbus, Ohio.

In 1987, Stull retired from the Columbus Recreation and Parks Department, and became a curator at the King Arts Complex in Columbus, Ohio where she worked to develop youth art education programs and helped launch the Elijah Pierce Gallery in the King Arts Complex. In 2004, Stull retired as curator from the King Art Complex, but continued as a consultant, where she curated “Columbus Collects,” “Roots and Legacies,” “Echoes of Our Ancestors,” which featured a number of rising and established black artists, and an exhibition called “African Art Tradition & Influence: Woodrow Nash Sculptor.” In 2008, Stull curated the “Color: Ten African American Artists and Sistahs” exhibition at the Ohio Craft Museum; and in 2010, she curated an exhibition called “Evolution of the Girl Child” at the McCoy Community Arts Center in New Albany, Ohio. Stull collaborated with a Cleveland based art group called “Creative Women of Color” to curate a 2012 exhibition called “SPEAK! Women Sharing Their Voices Through Art.” Stull was also an art advisor on the Long Street Bridge “Culture Wall” Committee in Columbus, which was completed in 2014, and consisted of a collection of photographs and block prints that detail the history of Columbus Near East Side.

In 2011, Stull won the Greater Columbus Arts Council Award for her work as an arts educator. In 2012, she received the Award for Outstanding Achievement from the Ohio Craft Museum. Stull also served on a number of boards and advisory committees including the Ohio Museum Association, the Fort Hayes Metropolitan Education Center Advisory Committee, the Greater Columbus Art Council Artists in Schools advisory committee, and the Greater Columbus Art League.

Bettye J. Stull was interviewed by The HistoryMakers on November 17, 2017.

Accession Number

A2017.205

Sex

Female

Interview Date

11/17/2017

Last Name

Stull

Maker Category
Middle Name

J.

Occupation
Organizations
First Name

Bettye

Birth City, State, Country

Wheeling

HM ID

STU05

Favorite Season

Fall

State

West Virginia

Favorite Vacation Destination

Mexico and West Africa

Favorite Quote

Continue to do the work that needs to be done.

Bio Photo
Speakers Bureau Region State

Ohio

Birth Date

6/12/1931

Birth Place Term
Speakers Bureau Region City

Columbus

Country

United States

Favorite Food

Calamari

Short Description

Curator and arts educator Bettye J. Stull (1931-) was an administrative coordinator for the Columbus Recreation and Parks Department for over thirty years and worked as an arts curator the King Arts Complex in Columbus, Ohio.

Employment

King Arts Complex

Columbus Recreations and Parks

Broad Street Presbyterian Church

St. Mary of the Springs College

Favorite Color

Green

Joan Sandler

Joan Delores Sandler was born on October 2, 1934 in Harlem, New York. Her mother worked as a nurse’s aide and domestic and her father was an elevator operator. Sandler was educated in New York City public schools earning her high school diploma in 1952 from the New York High School of Music and Arts.

After graduation, Sandler worked as a clerk for an insurance company. She also surrounded herself with artists and musicians, while becoming a political activist involved in the peace movement. In the early 1960s, Sandler began studying theatre with the Negro Ensemble Company and landed a role on the television drama series, Black Girl.

She began her art career in 1975, working as a program specialist for the Department of Cultural Affairs. Sandler then went on to work for the Black Theatre Alliance and Fundraising in the Public Interest. From 1983 until 1987, she worked for the Metropolitan Museum of Art where she was in charge of community education. She also worked for the National Endowment for the Arts and the Museum of American Folk Art. In 2001, Sandler served as executive director for the foundation of her longtime friend, artist Romare Bearden. The Romare Bearden Foundation continues Bearden’s visual arts legacy through community outreach and education.

Sandler continues to consult in arts education. She has worked as a lecturer and faculty member at Hunter College, New York University, Marymount College and Princeton. She has served as an advisor to many foundations and grant making organizations. Sandler has received a number of awards and honors for her contributions to arts education.

Accession Number

A2005.035

Sex

Female

Interview Date

2/2/2005

Last Name

Sandler

Maker Category
Marital Status

Divorced

Occupation
Schools

Fiorello H. LaGuardia High School of Music & Art and Performing Arts

P.S. 10 Magnet School for Science and Technology

P.S. 113 Anthony J. Pranzo

Julia Ward Howe Junior High School 81

Ps 333 Manhattan School For Children

Speakers Bureau

Yes

Speakers Bureau Availability

Depends on Schedule

First Name

Joan

Birth City, State, Country

New York

HM ID

SAN03

Speakers Bureau Preferred Audience

Adults, Seniors, Cultural Organizations and Artists

Speakers Bureau Honorarium

Yes

Favorite Season

Fall

Speaker Bureau Notes

Preferred Audience: Adults, Seniors, Cultural Organizations and Artists

State

New York

Favorite Vacation Destination

Southern Europe, Caribbean, South America

Favorite Quote

None

Bio Photo
Speakers Bureau Region State

New York

Birth Date

10/2/1934

Birth Place Term
Speakers Bureau Region City

New York

Country

United States

Favorite Food

Soul Food, French, Italian, West Indian Food

Short Description

Arts educator Joan Sandler (1934 - ) worked for the Metropolitan Museum of Art and the National Endowment for the Arts. She was also a lecturer and faculty member at several colleges and universities.

Employment

Romare Bearden Foundation

Museum of American Folk Art

National Endowment for the Arts

The Metropolitan Museum of Art

Fundraising in the Public Interest

The Black Theater Alliance

New York City Department of Cultural Affairs

Favorite Color

Turquoise

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Joan Sandlers' interview

Tape: 1 Story: 2 - Joan Sandler lists her favorites

Tape: 1 Story: 3 - Joan Sandler describes her mother

Tape: 1 Story: 4 - Joan Sandler describes her father

Tape: 1 Story: 5 - Joan Sandler talks about her parents' divorce

Tape: 1 Story: 6 - Joan Sandler describes her maternal grandparents

Tape: 1 Story: 7 - Joan Sandler talks about her ancestry

Tape: 1 Story: 8 - Joan Sandler describes her earliest childhood memory

Tape: 1 Story: 9 - Joan Sandler lists her siblings

Tape: 1 Story: 10 - Joan Sandler remembers holiday celebrations in her childhood

Tape: 1 Story: 11 - Joan Sandler shares stories about her mother's and her maternal aunt's experiences in Harlem, New York, New York

Tape: 1 Story: 12 - Joan Sandler shares memories of growing up in Harlem, New York, New York

Tape: 2 Story: 1 - Joan Sandler talks about her mother's family history

Tape: 2 Story: 2 - Joan Sandler describes rent parties at her home in Harlem, New York

Tape: 2 Story: 3 - Joan Sandler describes the sights, sounds and smells of her childhood

Tape: 2 Story: 4 - Joan Sandler remembers a special Christmas with her mother

Tape: 2 Story: 5 - Joan Sandler describes her elementary and junior high school experiences in New York, New York

Tape: 2 Story: 6 - Joan Sandler describes living with family in Rocky Mount, North Carolina after her parents' separation

Tape: 2 Story: 7 - Joan Sandler talks about her stepfather, Willis Hunter

Tape: 2 Story: 8 - Joan Sandler recalls her interests at Julia Ward Howe Junior High School 81 and The High School of Music and Art in New York, New York

Tape: 2 Story: 9 - Joan Sandler talks about listening to radical street orators in Harlem, New York, New York

Tape: 2 Story: 10 - Joan Sandler talks about her early adult life in Harlem, New York, New York

Tape: 3 Story: 1 - Joan Sandler talks about the early years of her marriage to Alvin Sandler

Tape: 3 Story: 2 - Joan Sandler talks about Louis E. Burnham's influence on her life

Tape: 3 Story: 3 - Joan Sandler talks about her friendship with Lorraine Hansberry

Tape: 3 Story: 4 - Joan Sandler describes living in Mexico with her family

Tape: 3 Story: 5 - Joan Sandler remembers the political atmosphere of New York, New York in the 1960s

Tape: 3 Story: 6 - Joan Sandler describes her work with the New York City Department of Cultural Affairs

Tape: 3 Story: 7 - Joan Sandler recalls her work with the Black Theatre Alliance and acting career

Tape: 3 Story: 8 - Joan Sandler remembers developments in African American art from the 1960s to 1980s

Tape: 4 Story: 1 - Joan Sandler describes the effects of political activism on her family life

Tape: 4 Story: 2 - Joan Sandler describes her work as an artists' model and promoting black films

Tape: 4 Story: 3 - Joan Sandler talks about working at the Metropolitan Museum of Art in New York, New York

Tape: 4 Story: 4 - Joan Sandler describes changes in the black art world in the 1980s

Tape: 4 Story: 5 - Joan Sandler talks about her work as a regional representative for the National Endowment for the Arts

Tape: 4 Story: 6 - Joan Sandler talks about consulting for arts foundations and museums

Tape: 4 Story: 7 - Joan Sandler talks about growth in the black filmmaking and the need for developing black theatre

Tape: 4 Story: 8 - Joan Sandler describes the purpose of an artist-based foundation

Tape: 5 Story: 1 - Joan Sandler talks about her goals and plans for the Romare Bearden Foundation in New York, New York

Tape: 5 Story: 2 - Joan Sandler talks about challenges for contemporary African American artists

Tape: 5 Story: 3 - Joan Sandler talks about her daughters, Eve and Kathe Sandler, and their careers

Tape: 5 Story: 4 - Joan Sandler reflects upon her life

Tape: 5 Story: 5 - Joan Sandler reflects upon the importance of history

Tape: 5 Story: 6 - Joan Sandler describes how she would like to be remembered

Tape: 5 Story: 7 - Joan Sandler shares her memories of Paul Robeson

Tape: 5 Story: 8 - Joan Sandler recalls James Baldwin's final days

Tape: 5 Story: 9 - Joan Sandler reflects upon her legacy

Tape: 5 Story: 10 - Joan Sandler describes her hopes for the African American community

Tape: 5 Story: 11 - Joan Sandler describes her hopes for the future

Tape: 5 Story: 12 - Joan Sandler narrates her photographs, pt. 1

Tape: 6 Story: 1 - Joan Sandler narrates her photographs, pt. 2

DASession

1$1

DATape

2$4

DAStory

4$3

DATitle
Joan Sandler remembers a special Christmas with her mother
Joan Sandler talks about working at the Metropolitan Museum of Art in New York, New York
Transcript
Tell me a little bit about the Christmas with no ornaments.$$Yeah. That was the building, yeah, before we moved to 113th Street [New York, New York]. And, I guess I was ten years old around that time, maybe a little older. And, we knew it was Christmas and we knew there was not a gift in the house. And, no special foods 'cause normally there would be that. There was just a very poor Christmas. And, my mother [Mary Wade Alexander] had a boyfriend at that time and either he was still with his family and coming back and forth, or he just wasn't present. And, we had nothing. And, my mother said--and, I guess we were just sort of walking around, you know, just looking sad but not complaining loud, but my mother saw that. And, she just took all these magazines and pieces of paper and she made all these wonderful things by hand. And, she got us involved in making it. And, my brothers tell the same story. They were smaller than me at the time. And, she just had this incredible spirit and magic about her that she could pull us from the dust bin really, and make, make Christmas. And, all--so these decoration were handmade. My mother was very good with her hands. She was a great seamstress, and she was a great cook, and she, she just had this creative spirit. And, it's a Christmas--and we had just about enough food in the house at that time. And, it's a Christmas I and my brothers, when we get together, we talked about it. But, now my older brothers have passed away, but they remembered it very well. And, they remember her spirit.$Let's talk about your work at the Metropolitan Museum of Art [(The Met), New York, New York].$$Yeah. I was trying to remember where I was just before I went to The Met. Let me get this story straight, now (simultaneous).$$(Simultaneous) You were at Fundraising in the Public Interest.$$Yeah, Fundraising--I guess I did go straight to The Met from there. In fact, the position that was created before I went there, my dear friend Herb Scott-Gibson [Herbert Scott-Gibson] was working for them. And, it were called [Department of] Community Education. There was a whole education department that was devoted to non--all the stuff The Met had not done for years. It was making the museum accessible for people in wheelchairs. It was bringing in community groups if you live--coming to the gallery; was working with senior citizens. I had about, it was in that department about four or five places for people. Also, doing bilingual lecturers and that kind of thing. I think I mentioned that. But, my friend Herb Scott-Gibson who had that job for about two years passed away. And, he was a good friend of mine. He passed away and, and it was rather shocking. And, then I--someone from The Met called me and said, you know, "They're looking for someone, would you come in and interview for it?" I must have known at least a dozen people from around the country--no, didn't know who they were, in some cases I knew them; who interviewed for it. And, I, you know, I was interested in the job certainly but it was always fascinating to me that when Philippe de Montebello said, "She's the one" (laughter). So, I said, "Okay, not bad, not bad." I was told that much later by people who sat in on the interview. So, I was there for I guess close to four years with a very exciting department. A couple of snakes in the grass who tried to, you know, bite my ankles off and that kind of thing.$$(Laughter).$$And, but we did a lot of wonderful things and as a result I was able to also bring musicians into the museum, like Randy Weston and people like that; have an afternoon talk between Romare Bearden and [HistoryMaker] Richard Long, have those ki- that caliber of people there. The head of the Museo [de Arte de Puerto Rico] in [Santurce] Puerto Rico, the head of the culture institutions there would come. And, we'd do whole wonderful talks in Spanish. And, I asked to Philippe to introduce them, 'cause Philippe spoke Spanish even though he's, he's French, he spoke wonderful Spanish. And, he would, you know, some of the scholars he knew. So, I was able to just move into a lot of different directions with enormous resources. And, then, then things got a little tight there and a little funny 'cause I was also very much a favorite, not just by Philippe but also by the president of the museum, Bill Macomber [William B. Macomber Jr.]. And, and then the last thing I did there working with my neighbor who has a Ph.D. from Harvard [University, Cambridge, Massachusetts], I did a study on the needs and the patterns of professionals of color and art museums in America. And, I had mostly--focusing actually on the northeast and maybe the mid, mid-Atlantic states, yeah, down passed Washington [D.C.].$$What did you discover in your study (simultaneous)?$$(Simultaneous) Well, I discovered that art museums are the hardest places to work in, in that you're--the, being accepted and considered on the par as your white counterpart, even if you might come in with all the degrees and everything, that never happened. Art museums adjusted poorly and slowly to what was the changing population on many levels. Not just in the program area but in the hiring practices and that kind of thing. We found that museums that weren't, even though they weren't a part of the study that were like science museum, natural history museum, historical societies were a little more open to, to diversity. And, to diversity among professionals and encouraging that. It was, it was an interesting study. It was used for a long time in a lot of situations, and it was, it was known all over the country. And, I was active in the museum professional associations, and that kind of thing. And, then that was the last thing I did and that was my last year at The Met.