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Series comprises 11x14 inch black-and-white (gelatin silver) prints exhibited at Duke University's Perkins Library, August 7-December 14, 2002. Andrews spent one tobacco farming season, April 2000 to April 2001, using a traditional film camera to document the lives of the people who were involved in cultivating tobacco on the Moore family farm in Pittsylvania County, Virginia. Images portray family members as well as Hispanic farmworkers. Tobacco farming is such labor-intensive work that it is often called a "13-month crop."

Titles and original identification codes assigned by the photographer have been retained; each print also has been given an institutional identifier. Prints are arranged in original order as received.

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Contains administrative and subject files organized under the following subseries: Projects, Fundraising, General Administrative, Organizations, Resource Files, and Photographs and Scrapbooks.

The General Administrative series houses administrative files which fall outside of the other categories: these include Board of Directors files, meeting minutes and agendas, finance and operations folders, events files, student and personnel policies, and outreach and correspondence files.

The Resource Files series contains chiefly articles on a wide variety of topics related to farmworkers and migrant workers.

Within subseries, groups and individual folders are organized alphabetically, with the exception of the Photos and Scrapbooks series, which is organized chronologically. Most titles were transcribed from the original folders; others have been devised by library staff.

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Documents a variety of administrative-level activities of the Washington Office on Latin America (WOLA) staff for almost the entirety of the organization's history up to 2007, with the majority of files representing the 1980s and 1990s. Organized into the following subseries: Development, Funding, General Management Files, Initiatives and Activities Office Files, and Publications. Arranged in original order as received, either unarranged, or in rough chronological or alphabetical order. See subseries descriptions below for details on contents and arrangement.

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Administrative records, 1922-2014 and undated 3.3 Linear Feet — 5.3 Gigabytes

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The materials in this series document the daily operations of the JHFNC and its predecessor organizations, beginning with the Efraim and Marian Rosenzweig Judaica and Hebraica Exhibit at the Judea Reform Congregation. The series also contains materials related to the building of the foundation's archival collections and documents the ultimate destination of archival materials and museum artifacts after the 2003 separation of the JHFNC and Rosenzweig Museum.

Types of material in the series include financial statements, board and committee meeting agendas and minutes, correspondence, reports, bylaws, articles of incorporation, newsletters, artifact appraisals, accession worksheets, loan and donor agreements, photographs of objects, and background research on specific artifacts. Digital materials in the series include computer and email backups, donor and contact databases, marketing and promotional materials, and digital photographs and documents related to museum accessions.

Throughout the series, titles of folders related to specific Rosenzweig/JHFNC accessions reflect the 6-digit accession numbering system established by the Rosenzweig Gallery, with the first two digits representing the year the artifact or archival material was accessioned.

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The Audiovisual Series is arranged in seven subseries. Four of these reflect film projects Young worked on for which there is existing descriptive information, either provided by Young or by the content of the films themselves, and for which there are discrete reels that do not contain clips from other projects. These include Seven Haitian Moods, Klaximo, Let Truth Be the Prejudice, and The Duck Season. The remaining three subseries contain film reels and video and audio media that do not fit clearly into any particular project -- for the subseries "Other film reels" this is due, in part, to the "spooling" of reels together to facilitate video transfer. In some, but not all, cases the titles in this subseries reflect the different clips on each spooled reel.

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Chiefly made up of two sets of the Economics Cassette Series produced by Instructional Dynamics Incorporated (IDI) between 1968 and 1977, the Audiovisual Materials Series contains 191 cassette tape recordings featuring interviews with Paul Samuelson and 125 cassettes featuring interviews with Milton Friedman, discussing fiscal policy and other issues through their respective lenses of Keynesian and Monetarist economics. Many of the Friedman interviews listed here have been digitized by the Hoover Institution at Stanford and may be accessed online through its website on Friedman: http://hoohila.stanford.edu/friedman/ecs.php.

The series also includes open reel audio of two of Samuelson's lectures, a video response to a 1975 video lecture by Samuelson from a group of German students at the University of Cologne, and a film reel of Samuelson winning the Nobel Prize.

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Gedney's most ambitious early book project centered on portraits of fifty American composers. Beginning around 1965, Gedney wrote letters of introduction to dozens of notable composers, inquiring about their willingess to participate in his project. Several of these letters are found in the Correspondence Series. The names of those whose portraits are in the collection are too many to list here, but include Aaron Copland, Milton Babbitt, Samuel Barber, William Bergsma, John Cage, Leonard Bernstein, Lukas Foss, Kenneth Gaburo, Elliott Gould, Roy Harris, Lou Harrison, Ben Johnston, Salvatore Martirano, Giancarlo Menotti, Darius Milhaud, William Grant Still, and Henry Weinberg. Only one woman composer is included: Pauline Oliveros at Mills College, California.

Taken between 1965-1969, these remarkable portraits were taken in the composers' homes, offices, and studios in cities such as New York, Chicago, Los Angeles, and San Francisco; Gedney also took more informal photographs of composers at parties and performances, and often with families and pets. Gedney admired John Cage in particular and took many photographs of him, including a set taken at a 1968 re-staging of the Electric Circus performance of early synthesizer music. The John Cage sequence also features Cage's collaborators and friends, among whom Alison Higgens, Merce Cunningham, Jasper Johns, Gordon Mumma, and Alison Knowles.

The complete book mock-up, or maquette, of the unpublished American composers project can be found in the Book Projects Series. Lists of composers' names, dates, and locations where they were photographed, correspondence on publication efforts, and notes on the project can be found in the Correspondence, Writings and Notebooks, and Grants and Work Files series. Additional test prints can be found in the Film and Development Tests series.

Prints in this series are arranged in rough chronological order.