Search

Back to top

Search Constraints

Start Over You searched for: Names Sallie Bingham Center for Women's History and Culture Remove constraint Names: Sallie Bingham Center for Women's History and Culture Names Archive of Documentary Arts (Duke University) Remove constraint Names: Archive of Documentary Arts (Duke University)

Search Results

collection icon
Seven mounted photographs and five pamphlets from the Abortion Rights Association of New York, later known as the Abortion Rights Association, Inc., dating between 1972 and 1974. Pamphlets explain abortion procedures, clinic and physician guidelines, and women's rights to abortion, largely designed to address and implement the Supreme Court decision Roe v. Wade. Photographs (which contain captions) include black-and-white images of tools used in self-induced abortions; coroner's office photographs of deceased women following self-induced abortions; morgue photographs of infanticide victims; and images of fetuses in utero.

Collection consists of a set of seven mounted photographs, apparently intended for exhibition, and a set of five pro-choice pamphlets created by the Abortion Rights Association of New York (later known as Abortion Rights Association, Inc.). The photographs include coroner's office photographs of deceased women following self-inflicted abortions; morgue photographs of infanticides; equipment and tools used in self-inflicted abortions; and fetuses in utero, one with deformed brain. Author of the included captions is unknown. The pamphlets, written to assist New York physicians and practioners implementing the Supreme Court Roe v. Wade ruling, address women's rights to clinical abortions, abortion laws, counseling and guidance on policies, and references to New York abortion clinics and practitioners.

collection icon
online icon
Joe H. Hernandez was born in 1924 and worked at the San Antonio General Depot between 1951-1954. Collection comprises a commercially produced scrapbook (12 x 14.5 inches) containing 50 black-and-white and 102 color photographs, ranging in size from 3.5 x 5 inches to 8 x 10 inches. Hernandez and several of his friends were female impersonators, so the majority of the photographs are of men in various states of drag. Others show Hernandez surrounded by his friends and family or in affectionate embraces with gay male friends. Also present are ticket stubs, matchbook covers, night club flyers, programs, postcards, and clippings, mostly having to do with performance venues and gay clubs in New York City, Los Angeles, Chicago, San Antonio, and Kansas City, as well as with famous performers. They also document Hernandez's interest in Broadway shows, jazz, and actors and actresses. Laid-in are several U.S. Army personnel documents from Hernandez's work at the San Antonio General Depot 1951-1954; in addition, there are two photographs of Hernandez in uniform. Also laid-in are several other photographs, clippings, and programs. Photograph album has been disbound for conservation purposes.

Collection comprises a commercially produced scrapbook (12 x 14.5 inches) containing 50 black-and-white and 102 color photographs, ranging in size from 3.5 x 5 inches to 8 x 10 inches. Hernandez and several of his friends were female impersonators, so the majority of the photographs are of men in various states of drag. Others show Hernandez surrounded by his friends and family or in affectionate embraces with gay male friends. Also present are ticket stubs, matchbook covers, night club flyers, programs, postcards, and clippings, mostly having to do with performance venues and gay clubs in New York City, Los Angeles, Chicago, San Antonio, and Kansas City, as well as with famous performers. They also document Hernandez's interest in Broadway shows, jazz, and actors and actresses. Laid-in are several U.S. Army personnel documents from Hernandez's work at the San Antonio General Depot 1951-1954; in addition, there are two photographs of Hernandez in uniform. Also laid-in are several other photographs, clippings, and programs. Photograph album has been disbound for conservation purposes. Acquired as part of the Sallie Bingham Center for Women's History and Culture and the Archive of Documentary Arts.

collection icon
Collection comprises 48 stereographic photographs, 5 cartes-de-visite photographs and a clipping regarding Martha Maxwell. The cartes-de-visite photographs feature full-length portraits of Maxwell, two seated at her taxidermy work and three standing while holding a gun. Several of the stereographic photographs are also portraits, most often showing Maxwell positioned within displays of her taxidermy birds and mammals; however, the majority of the stereographs depict her displays at the Centennial Exhibition and at the Rocky Mountain Museum in Boulder. The clipping describes the birds and mammals represented at her Centennial Exhibition display and provides a review of her work.

Collection comprises 48 stereographic photographs, 5 cartes-de-visite photographs and a clipping regarding Martha Maxwell. The cartes-de-visite photographs feature full-length portraits of Maxwell, two seated at her taxidermy work and three standing while holding a gun. Several of the stereographic photographs are also portraits, most often showing Maxwell positioned within displays of her taxidermy birds and mammals; however, the majority of the stereographs depict her displays at the Centennial Exhibition and at the Rocky Mountain Museum in Boulder. The clipping describes the birds and mammals represented at her Centennial Exhibition display and provides a review of her work.

collection icon

Melanie Dornier photographs, 2013-2016 1.0 Linear Foot — 2 boxes — 110 color inkjet prints — 11 3/4 x 8 inches

Collection consists of two documentary photography series taken in India by Melanie Dornier. "Mahila Thana: All Women Police Station" is comprised of 56 color digital photographs, taken in 2016, recording daily life inside the walls of the All Women Police Station of Gurugram, Haryana. The images convey the human impacts of woman-specific crimes and social justice, and the role of the police station and its female officers as a safe haven for distressed and abused women. The 54 color digital prints in "Punch My Face: Women's Boxing in India" document the daily life and experiences of Meena Kumari, a wife, mother, daughter, police officer, and boxer, 2013-2016. All prints measure 11 3/4 x 8 inches. Acquired as part of the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture at Duke University.

Collection consists of two documentary photography series by Melanie Dornier taken in India. "Mahila Thana: All Women Police Station" is comprised of 56 color digital prints. The photographs - taken during 2016 - record daily life inside the walls of the All Women Police Station of Gurugram, Haryana. The 54 color digital prints in "Punch My Face: Women's Boxing in India, document the experiences of Meena Kumari, a wife, mother, buffalo owner, police officer, and boxer, between 2013 and 2016.

In an artist's statement Dornier describes that in 2012, "...the safety issues of the Indian women and gender violence were brought to the fore by the news of the gang rape and death of a young student in New Delhi, India. Since then funding and action plans have been implemented all around the country. In Gurugram, the millennium city in the state of Haryana, it was decided to open an All Women Police Station (AWPS) as in each of Haryana's districts and this was completed in August 2015. The project 'Mahila Thana,' which is 'All Women Police Station' in Hindi, documents the daily life inside the walls of the AWPS of Gurugram."

On "Punch My Face," Dornier reflects that, "Meena Kumari was born in December 1982 to a modest rural family. Now she is reaching the end of her boxing career and she hopes to soon become a police inspector. In 2001, Meena was one of the first Indian women to become a boxer and enjoyed visibility on the international scene. Her first major fight was confronting her father who believed boxing was not a respectable activity for a woman. Despite this Meena worked harder and harder and quickly reached the national and international stage in the flyweight category (51KG). Back then, female boxers were trained with young boys due to the shortage of women in the ring...at the end of 2016 and at the end of this photo documentary, we see Meena in the first months of her third pregnancy."

Dornier is the winner of the 2017 Bettye Lane Award for Feminist Photography, sponsored by the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture.

Acquired as part of the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture at Duke University.