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André Kertész photographs, 1919-1984 1.0 Linear Foot — 2 boxes — 31 photographic prints — 8x10 and 11x14 inches

Collection of 31 black-and-white photographs by André Kertész provides a sampling of his compositional styles and topical interests. Taken from 1919 through 1984, the images chiefly feature street scenes from Paris (1920-1984), and several each from Budapest and New York City. There are also two female nude studies from his 1930s series "Distortions," two still lifes, and several landscapes. The majority of the gelatin silver prints are sized 8x10 inches, with four measuring 11x14 inches. On the backs are various markings, including dates and identifying marks by Kertész and others, with many bearing a Kertész estate stamp. Acquired as part of the Archive of Documentary Arts at Duke University.

Collection of 31 black-and-white prints by noted photographer André Kertész provides a portfolio representing the full range of his compositional styles and topical interests. Taken from 1919 through the 1980s, the end years of his career, the images chiefly feature street scenes from Paris in the 1920s and 1930s and 1980s, with a few street scenes from Budapest (1919 and 1920), and a handful from New York City from his later years in that city, with one from 1939. There are two photographs from the 1930s series "Distortions," featuring female nudes with distortion effects. Several images include cats and dogs. There are a handful of landscapes with no known location, and two still lifes.

The majority of the prints are sized 8x10 inches, with four measuring 11x14 inches. They bear various markings on the backs, including crop marks, dates, and identifying marks by Kertész and others. All but five are marked with the Kertész estate stamp; several bear the photographer's stamp.

Acquired as part of the Archive of Documentary Arts at Duke University.

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Caroline Vaughan photographs, 1977-1992 6 Linear Feet — 5 boxes; 64 items — 63 prints; one brochure

Collection comprises 63 exhibit-quality black-and-white photographic portraits of Durham, North Carolina citizens of all races, ages, genders, and sexual orientations, taken from 1989 to 1992 for a Center for Documentary Studies project. Subjects include activists, writers, older people, working class men, friends, couples, and families. Many of the individuals were alumni of Duke University. Also includes several prints and a brochure from an exhibit entitled "Home Ground," featuring Vaughan's family and landscapes from two family farms, 1977-1987. Formats include gelatin silver, Polaroids (some in color), and four palladium/plantinotype prints, along with a hand-pigmented, textured print. The photographs range in size from about 8 3/8 x 10 3/4 inches to 11x14 inches and are all matted, captioned, and signed. Acquired as part of the Archive of Documentary Arts at Duke University.

Collection chiefly comprises 63 exhibit-quality black-and-white photographic portraits of Durham, North Carolina citizens of all races, ages, genders, and sexual orientations, taken by Durham photographer Caroline Vaughan from 1989 to 1992 for a Center for Documentary Studies project. Subjects include activists, writers, older people, working class men, gay and straight couples, friends, and families, Many of the individuals were alumni of Duke University who were involved in sixties activism and remained in the area.

There are several photographers featured in the portraits whose work is also in the Rubenstein Library collections: Peter Goin, Alex Harris, Jeeva Rajgopaul, and Margaret Sartor.

Also includes a smaller series of black-and-white palladium/platinotype prints and a bifold brochure from a Duke University exhibit entitled "Home Ground." These prints feature Vaughan's family members posed in the studio and at two family farms in Oxford, N.C. and News Ferry, Virginia, taken from 1977 to 1987 and printed in 1992 and 1993.

The photographs were taken with large-format cameras and an instant camera (Polaroid), and printed and toned by Vaughan chiefly from 1990 to 1993. Formats include gelatin silver, Polaroids (some in color), and palladium/plantinotype prints, along with one hand-pigmented, textured print. The prints range in size from about 8 3/8 x 10 3/4 inches to 11 x 14 inches and are printed on a variety of papers. Some of the palladium prints feature a circular image format. With a few exceptions, the prints are signed, dated, and matted. Titles were taken from original captions inscribed by the photographer on the prints or mats. Some titles for some uncaptioned prints were taken from the photographer's online gallery. Many prints have data on exposure times, shutter, speed, and other data marked on the back.

Acquired as part of the Archive of Documentary Arts at Duke University.

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Frank Espada photographs and papers, 1946-2010, bulk 1964-2000 56.2 Linear Feet — 76 boxes; 3 oversize folders — approximately 14,500 items

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Frank Espada was a political activist and documentary photographer of Puerto Rican extraction based in New York and California. His photographic archives comprise thousands of black-and-white photographs and negatives as well as supporting papers and recordings, chiefly dating from the mid-1960s through 2000. The materials relate to Espada's lifelong work documenting the Puerto Rican diaspora, civil and economic rights movements, indigenous Chamorro communities in Micronesia, and HIV/AIDS outreach in San Francisco. The Puerto Rican Diaspora series includes over 150 oral history recordings. The Civil Rights series documents voter registration drives and school desegregation rallies in New York City, 1964-1970, as well as discriminatory housing and anti-poverty movements, primarily in California. The professional papers provide supporting documentation of his life and work as a photographer, activist, community organizer, and teacher, and include files related to research and writings, exhibits, teaching, and publicity. The earliest dated item is a 1946 essay by Espada, "What democracy means to me." Acquired as part of the Archive of Documentary Arts at Duke University.

Frank Espada's photographic archives comprise thousands of photographic prints, contact sheets, and negatives, as well as professional papers, spanning the length of Frank Espada's career as a photographer and community activist from the mid-1950s through 2010. The materials document Espada's Puerto Rican diaspora around the world; indigenous Chamorro communities in Micronesia, primarily in Guam, Tinian, and Saipan; drug abuse prevention programs and HIV/AIDS outreach in San Francisco; and civil rights, education, and housing rights movements, primarily in New York City and San Francisco. Espada was not only an observant photographer, but was also deeply involved in all of his projects as an activist, social worker, and humanitarian.

A large series of professional papers provides supporting documentation of his life and work as a photographer, activist, community organizer, and teacher. The earliest dated item, an essay Espada wrote in 1946, "What democracy means to me," is found in this series, which also contains research files on documentary and research topics; preparation for his many photography projects and related exhibits; a few videocassettes; teaching syllabi and notes from his photography courses at U.C. Berkeley; awards and memorabilia; and publicity.

The largest body of materials, which numbers over 12,000 items and includes photographs as well as manuscripts and over 100 recorded oral interviews, derives from Espada's work with Puerto Rican communities in the U.S. and in Puerto Rico.

Another significant group of materials derives from Espada's activism on behalf of voter registration and school desegregation in New York City from 1962-1970, and later in California in support of anti-poverty, HIV/AIDS and drug abuse prevention and outreach, and housing rights.

Each of the photographic project series includes finished prints ranging in size from 8x10 to 24x30 inches; contact sheets and work prints; and negatives, which are housed in a separate series and are closed to use.

Acquired as part of the Archive of Documentary Arts at Duke University.

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Jennette Williams photographs, 2000-2006 4 Linear Feet — 14 Items

Documentary photographer and instructor at the School of Visual Arts in New York. Fourth recipient of the biennial Center for Documentary Studies/Honickman First Book Prize in Photography in 2008. (Acc. 2009-0141, 2009-0245, and 2009-0246) (14 items; 4.0 lin. ft.; dated 2000-2006) includes 10 (20x24) platinum/palladium contact prints and 3 (20x24) pigment ink on rice paper images from Williams' book, The Bathers, featuring women bathing and lounging in Turkish and Hungarian bathhouses. Also includes a CD of an artist talk given by Williams at an exhibit opening in 2009. Acquired as part of the Archive of Documentary Arts (Duke University).

Collection includes 13 prints from The Bathers, Williams' winning entry for the Center for Documentary Studies/Honickman First Book Prize. Prints are 20x24, and feature women bathing and lounging in steam rooms and bathhouses in Istanbul and Budapest. Ten of the images are platinum/palladium contact prints, and the remaining three are pigment ink on rice paper.

This collection also includes a CD with an artist talk, given by Williams at the opening of the Duke exhibit of The Bathers in 2009. This item has been transferred to Duke's electronic server.

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Lynn Saville photographs, 1972-2015 and undated 21.5 Linear Feet — 20 boxes — 295 items

The collection dates from 1972 to 2015 and consists of over 200 large color and black-and-white photographic prints of nighttime scenes selected from the work of photographer Lynn Saville in urban centers such as Paris, Rome, Venice, New York City, Durham, North Carolina, Los Angeles, Vermont, and other locations. The collection also includes 30 portraits of artists, feminists, writers, family members, and other individuals, as well as self-portraits. Supplemental materials such as book reviews and book maquettes round out the collection. Acquired as part of the Archive of Documentary Arts at Duke University.

The collection consists of selections of work from photographer Lynn Saville's portraiture and night photography from urban America, dating from 1972-2015. Formats include traditional darkroom gelatin silver prints, color prints, and a small number of digital prints. Sizes range from 11x14 to 20x24 inches.

The Portraits series includes 30 images of poets, photographers, family members, friends, and prominent women such as Barbara Jordan, Adrienne Rich and Bella Abzug. The collection's primary focus, however, is Saville's more recent work, housed in the Nocturnal Photography and Dark City series, containing 205 photographs of night scenes in the United States and Europe, particularly New York City (with a focus on Brooklyn) and Paris. Other locations include Los Angeles, North Carolina, Vermont, Paris, Rome, and Venice.

Selected images are also available online as part of a Duke University Libraries digital exhibit.

There is also a Supplemental Materials series which includes printed matter such as articles and book reviews, and a documentary film directed by Anna Borden about Saville's career and photography (2003).

Acquired as part of the Archive of Documentary Arts at Duke University.

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Mariette Pathy Allen photographs and papers, 1968-2003 8.5 Linear Feet — Approximately 931 Items

Documentary photographer based in New York City. Collection contains five portfolios of Allen's work, dating from the 1960s to 2003, totaling 131 color and black and white prints that document aspects of human sexuality, gender identity, the connections between people and art, and the social life of people in Philadelphia and New Jersey suburbs and beaches. The prints are arranged into these series: Transformations: Crossdressers and Those Who Love Them; The Woman Who Lives Inside: Portraits of Men as Women; NJ/PA 1968; People and Art; and the Gender Frontier. A final series consists of a group of papers and publications by and about Allen. Acquired as part of the Archive of Documentary Arts.

Collection contains five portfolios of Allen's work, dating from the 1960s to 2003, totaling 131 prints that document aspects of human sexuality, gender identity, the connections between people and art, and the social life of people in Philadelphia and New Jersey suburbs and beaches. The first series, Transformations: Crossdressers and Those Who Love Them contains eleven 15.5 x 23 inch color prints mounted on 24x31 inch mat board. These photographs are from the book of the same title published in 1990 that documents crossdressers in everyday life. The second series, The Woman Who Lives Inside: Portraits of Men as Women, is a portfolio of 16 gelatin silver and 15 color prints. The third is entitled NJ/PA 1968, containing 28 black and white, 16x20, gelatin silver prints. Images include people at the New Jersey beaches, east coast suburbs, and Philadelphia. A fourth series consists of 30 16x20 gelatin silver prints entitled People and Art, shot between 1968 and 2000. Photographs include artists at work, people looking at art, the Venice Bienniale 1999, Paris, London, and Budapest. Finally, the fifth series consists of 31 color and black and white prints from Allen's 2004 book, The Gender Frontier, documenting transgender and transsexual people in relationships, at conferences and political rallies, and undergoing corrective surgeries. This series also includes many portraits of different transgender people. Two CD-Rs of Allen's images are also included in the Papers Series, which also houses printed materials, brochures, and articles that include photographs by Allen. Acquired as part of the Archive of Documentary Arts.

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Max Belcher photographs, 1969-1998 10 Linear Feet — 48 boxes — 1425 Items

The photographs and printed materials in this collection date from 1969 to 1998, and document the work of Max Belcher, American-born photographer. The collection is organized into two series: Printed Materials and Photography. The Printed Materials Series consists of publicity, exhibit literature, and other materials related to Belcher's work as a photographer. The much larger Photography Series includes 1,027 contact sheets (860 black-and-white, 167 color), 381 photographs (239 black-and-white, 142 color), and five color fine prints spanning nearly three decades of Belcher's professional work as a photographer. This series is divided into eleven project-based subseries, which have been arranged chronologically by the start date of each project. Within each subseries, contact sheets precede photographs,and black-and-white work precedes color. Individual items in the photography series bear specific technical and identifying information, usually marked by Belcher on the backs of contact sheets and photographs. Acquired as part of the Archive of Documentary Arts.

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Morrie Camhi photographs, 1960s-2012 and undated 12 Linear Feet — Approx. 800 Items

Documentary photographer and instructor based in Petaluma, California; died in 1999. Collection features 167 black-and-white prints of documentary photographer Camhi's work on five projects: ADVantage, a series of portraits of individuals who have written personal want ads; Espejo and Farmworkers, which explore Mexican American labor activism and the lives of undocumented immigrants; Jews of Greece, portraits of Jewish people living in various places in Greece; and The Prison Experience, which documents inmates,their families, and staff of the California State Prison at Vacaville and their answers to the question Camhi posed to them about what they would like people to know about life in prisons. The gelatin silver prints range in size from 8.5x13.5 to 10.25x13.25 inches; most are in 16x20 inch mats. The collection of prints is accompanied by approximately five hundred original negatives and slides, many featuring Camhi's own family as well as several photographic projects not represented in the prints series. Acquired by the Archive of Documentary Arts at Duke University.

Collection features 167 black-and-white prints of documentary photographer Camhi's work on five projects, two of which are inter-related: "ADVantage," a series of intimate portraits in their homes of individuals who have written personal want ads; "Espejo" and "Farmworkers," which explore the dimensions of Mexican American activism and the lives of undocumented farmworkers; Jews of Greece, a study of individual Jews living in various places in Greece; and "The Prison Experience," which documents the lives and concerns of prisoners in a California State Prison at Vacaville and their answers to the question Camhi posed to them about what they would like people to know about the prison experience. The gelatin silver prints range in size from 8.5x13.5 to 10.25x13.25 inches, with many in 16x20 inch mats.

The collection of prints is accompanied by over 500 original negatives and slides, many featuring Camhi's own family. The negatives and slides also contain images associated with other photographic projects not represented in the prints series, including "Roadside Attraction" and "Haiku."

Acquired by the Archive of Documentary Arts at Duke University.

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Petra Barth photographs, 2006-2020; 2006-ongoing 14.0 Linear Feet — 11 boxes — 421 prints — 65.12 Gigabytes — 728 digital files

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Collection consists of 421 black-and-white prints in darkroom and inkjet formats, 726 associated digital image and project files, and two digital videos by photographer Petra Barth. Arranged by project, Barth's images document cultures, politics, environments, and crises in countries all over the world, through landscape and portraiture. Series include images from Central and South American countries to the Caribbean countries of Haiti and the Bahamas; portraits of migrants and images of migrant services at Arizona/Mexico border stations; images from the Chernobyl Exclusion Zone and residents in nearby areas in the Ukraine; scenes in Jerusalem and the West Bank; images of Syrian refugees and others in Jordan camps; and portraits of military veterans of the Bosnia-Herzegovina War. Acquired as part of the Human Rights Archive at Duke University.

Collection consists of 421 black-and-white prints, darkroom and digital, 726 associated digital image and project files, and two digital videos by photographer Petra Barth. Arranged by project, the photographs document the cultures, politics, environments, and crises in countries all over the world, and her interest in portraiture. Series include The Americas, whose images range from Central and South American countries to Caribbean countries of Haiti and the Bahamas; migrants and migrant services at the Arizona/Mexico border; the Chernobyl Exclusion Zone and residents in nearby areas in the Ukraine; scenes in Jerusalem and the West Bank; refugees in Jordan camps; and portraits of military veterans of the Bosnia-Herzegovina War, in the city of Sarajevo. In addition to many portraits of individuals and families, there are also landscapes.

Areas represented in The Americas series include Bolivia; Patagonia, Argentina; the Bahamas; Foz do Iguaçu and Rio de Janeiro, Brazil; El Salvador; Guatemala; Martissant, Cité Soleil, and Port-au-Prince, Haiti; Nicaragua; Ciudad del Este, Paraguay; and Cusco, Peru. Includes images of people working, cooking, minding children, participating in local festivals, traveling, and playing. Several portraits feature people in traditional dress. The largest group of images was taken in Haiti, where Barth returned following the 2010 earthquake. These photographs include scenes of people among the rubble in Martissant and Port-au-Prince, as well as some portraits of hospital patients. The Americas series images are arranged alphabetically by country.

The two short digital videos were taken by Barth in South America and the Chernobyl Exclusion Zone.

Acquired as part of the Human Rights Archive at Duke University.