Delouis Wilson is an African American artist, and jewelry designer, and art collector, based in Durham, North Carolina. The papers comprise her journals (1977-2008); calendars; sketchbooks, art school notebooks, and loose pieces of mixed media artwork. The journals, currently closed to use, document in detail her personal life, travels in the U.S. and abroad, including time spent in Tunisia in the Peace Corps, life in Durham, N.C., and employment as a jewelry designer. The collection also includes 30 large photographic studio portraits of African Americans, almost all hand-tinted crayon enlargements, dating from about 1890 to 1945 and collected by Wilson chiefly in the Southern U.S. Acquired as part of the Archive of Documentary Arts, the Bingham Center for Women's History and Culture, and the John Hope Franklin Research Center for African and African American History and Culture at Duke University.
Wendel White is a photographer and Distinguished Professor of Art at Stockton University in New Jersey. This photograph collection comprises two bodies of work by White that explore aspects of African American history through artifacts, archives, and 21st century landscapes. The first, "Manifest," comprises 45 24x30 inch color inkjet photographs of single objects relating to African American material culture and history, taken by White in various public and private collections throughout the U.S. Subjects in these stark images include a diary, printed notices, slavery narratives, a lock of Frederick Douglass's hair, a drum, a slave collar, a tobacco pouch, a tintype photograph, and other objects. "Manifest" is the 2015 winner of the Archive of Documentary Arts Collection Award for Documentarians of Color. The second portfolio, "Red Summer," refers to race-related violence against African Americans that took place from 1912 to 1923, with the majority occurring during the summer of 1919. It consists of 30 24x42 inch color photographs, taken by White from 2017 to 2018, at sites across the United States where violence against African Americans - assaults, riots, and lynchings - took place, paired with contemporaneous newspaper accounts of the events. Acquired as part of the Archive of Documentary Arts at Duke University.
South African born documentary photographer. Collection contains over 400 black-and-white and color prints from several of Weinberg's exhibits and books on Southern Africa and other regions. Titles of projects include: Travelling Light; The Moving Spirit; In Search of the San; Going Home; Once We Were Hunters; Kosi Bay; Working the Land & Back to the Land; and Durban: Impressions of an African City. The photographs document rural indigenous communities and urban culture in several African countries; events photographed include religious celebrations and rituals, a poetry festival, and South Africa's first democratic elections (1994). Also included high-resolution scans of photographs in the collection. Acquired as part of the Archive of Documentary Arts at Duke University.
Lawrence Sumulong is a Filipino-American photographer based in Brooklyn, New York. Collection consists of 15 black-and-white oversize inkjet images printed on banana-fiber paper, documenting the lived experiences and memories of Marshallese and Bikinian survivors who were forced to leave their Pacific island homes because of the nuclear bomb tests carried out in the late 1940s by the U.S. military. The Marshallese and Bikinian diaspora explored in these photographs is based in Springdale, Arkansas. Acquired by the Archive of Documentary Arts at Duke University.
The Strange Fire Collective was a group of interdisciplinary artists, curators, and writers founded in 2015 to support the work of women, people of color, and queer and trans artists. The records of the collective comprise printed ephemera such as booklets, publicity postcards, gallery and exhibition guides, and printouts from their website posts, chiefly interviews with artists by the Strange Fire co-founders. Collection also includes a large set of over 100 single-sheet poster reproductions of artist works used in a 2019 exhibition at the Milwaukee Institute of Art & Design (MIAD). Acquired by the Sallie Bingham Center for Women's History and Culture and the Archive of Documentary Arts at Duke University.
Collection contains twenty-six 16x20 inch black-and-white matted digital prints used in Smith's book, THE WEATHER AND A PLACE TO LIVE: PHOTOGRAPHS OF THE SUBURBAN WEST, published by Duke University Press (2005). Subjects include tract housing in the West, construction sites, and other suburban landscapes that convey the impact of humans on the Western environment. His work received the First Book Prize for Photography by the Honickman Foundation and the Center for Documentary Studies at Duke University. Collection also includes CD of artist talk given by Steven Smith at the 2005 exhibit opening, "Steven Smith: Photographs of the Suburban West." Acquired as part of the Archive of Documentary Arts at Duke University.
Collection contains 30 color prints from Sittler's project All the Presidents' Men. This project combines photographs made in presidential museums and historic sites across the United States with images from Sittler's father and grandfather's homes.
Collection comprises 76 color photographic prints, measuring from 11x14 to 20x24 inches, depicting the annual prairie fires that sweep across east-central Kansas. These images were taken during the 1990s; the artist has continued taking images of prairie fires up to the present (2015). For the 1990s project, published in a book entitled "On fire," Schwarm was awarded the 2002 Honigman First Book Prize in Photography by the Center for Documentary Studies in Durham, North Carolina. The photographs were displayed in an exhibit entitled "On fire: Larry Schwarm," at Duke University's Rubenstein Library. Also included in the collection is an audio cassette recording of the artist's talk Schwarm gave on November 6, 2003, at the exhibit's opening reception. Acquired as part of the Archive of Documentary Arts at Duke University.
Margaret Sartor is a photographer and instructor at Duke University's Center for Documentary Studies. Her Photographs and Papers collection includes photographs of the American South, and some materials from her book project on William Gedney.
This collection includes 39 photographic prints comprising the series Aunties, by Nadia Sablin, the 2014 CDS/Honickman First Book Prize in Photography Award Winner. Aunties is a series of photographs detailing the lives of two unmarried sisters living in a Russian village.
Steve Roden is an American sound and visual artist, and was the 2014 Barbaralee Diamonstein-Spielvogel Visiting Artist in Residency at the Rubenstein Library. His collection contains prints, video, and sound files created as a result of his residency.
The records of the documentary project Indivisible: Stories of American Community span the dates 1988-2002. Through documentary photographs and oral histories, project records, videos, and other materials, the collection documents the social conditions in twelve American communities as well as the history of the project, which explored civil activism, struggle, and change in the following locations: the North Pacific Coast of Alaska; Ithaca, N.Y.; San Francisco, California; Navajo Nation, Arizona and New Mexico; Eau Claire, South Carolina; Delray Beach, Florida; Western North Carolina; Stony Brook, N.Y.; San Juan, Texas; Chicago, Illinois; Philadelphia, Pennsylvania; and the Yaak Valley, Montana. The photographers are Dawoud Bey, Bill Burke, Debbie Fleming Caffery, Lucy Capehart, Lynn Davis, Terry Evans, Lauren Greenfield, Joan Liftin, Reagan Louie, Danny Lyon, Sylvia Plachy, and Eli Reed. The project was sponsored by the Center for Documentary Studies of Duke University and the Center for Creative Photography at the University of Arizona, and co-directed by Tom Rankin and Trudi Stack. Acquired as part of the Archive of Documentary Arts at Duke University.
Danny Lyon (1942- ) is a photographer, writer, and filmmaker originally from New York. The collection contains photographs and other writings created while Lyon served as a staff photographer for the Student Nonviolent Coordinating Committee (SNCC), 1962-1964, as well as later materials related to his books and films about the civil rights movement and its leaders. The collection also contains a later body of work by Lyon titled the Texas Prison Archive, which includes photographs, correspondence, film, and writings collected and created by Lyon in the late 1960s in the Texas prison system. These materials culminated in "Conversations with the Dead," first published by Lyon in 1971.
Creative projects produced by students in Activating the Archive: Archival Research as Documentary Practice, DOCST 316-01 / 716-01 / ARTVIS 316-01 / VMS 314S-01, taught by Lisa McCarty in the Rubenstein Library in the Fall of 2015. Acquired as part of the Archive of Documentary Art (Duke University).
Earl Dotter is a documentarian, photojournalist, and labor activist based in Maryland. Collection comprises 818 mounted black-and-white and color photographs documenting hazardous occupations, conditions for workers, and labor activism in the United States, and related materials such as work prints, digital image files, exhibit items, a large series of publications, and ephemera. A few historical photographs of coal mining settings by Russell Lee are also present. Specific occupations and topics represented by collection materials spanning many decades include: working conditions in the coal mine, garment, auto, poultry, logging, and fishery industries; child labor in the U.S.; conditions for migrant and Native American workers; the labor behind hand-harvested crops; medical care for workers; U.S. occupational safety standards and labor laws; and labor activism in support of people in hazardous occupations. There is also a series on the 9/11 Ground Zero site and first responders. Mount sizes range from 8x10 to 22x28 inches; most are 11x14 and 16x20. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises over 500 black-and-white photographic prints, along with negatives, contact sheets, photographer's notes, journals, writings, speeches, correspondence related to photography, and printed material, totaling over 9000 items. Kwilecki's photographic work documents rural and small-town life in and around Bainbridge, Decatur County, Georgia, an undertaking he began as a self-taught photographer in 1960 and continued until his death in 2009. Subjects include local landscapes, tobacco workers, county fairs, hog slaughtering, cemeteries, churches, courthouses, recreation on the Flint River, local industry, shoppers, downtowns, and house porches and interiors. The themes of race relations and religious life predominate. Many of Kwilecki's subjects come from the African American community in Decatur County. Significant correspondents in the manuscripts series include photographers Alex Harris and David Vestal; the collection includes a small set of Vestal photographs. Acquired as part of the Archive of Documentary Arts at Duke University.
Stacy Kranitz is a documentary photographer and author based in Tennessee. Collection consists of 15 color inkjet prints and a 100-page handmade illustrated book fom a project titled Fulcrum of Malice, which documents the connections between conditions in African American neighborhoods and the siting and management of hazardous industries and waste sites around Baton Rouge, Louisiana. The photographs show African American families at home and in their neighborhoods, people in church and at meetings about the hazardous waste sites, biodegraded landscapes, and the industrial sites themselves. The book also includes text, maps, charts that narrate the community histories, government policies which led to the current situation, and the decades-long struggle for environmental and health justice for the inhabitants. Acquired as part of the Archive of Documentary Arts at Duke University.
Set of 95 photographic color images in slide format, taken by Jeff Kosokoff, a librarian at Duke University, Durham, N.C., while traveling in Japan, mainland China, and Taiwan from January to April 1983. The images are arranged by geographic location, in alphabetical order: Akira, Japan; Hong Kong; Hohhot (or Huhhot), the capital of the Inner Mongolian Autonomous Region in North China; the Inner Mongolia grasslands; and Taipei, Taiwan. Subjects includes the rural landscapes and cityscapes of each area and its citizens, including street scenes and street art, markets, advertising and other signs, vending machines, and modes of transportation. Photographs taken in Inner Mongolia include dwellings (yurts), families and individuals in native dress, domestic Bactrian camels, and some scenes from the city of Hohhot. Acquired as part of the Archive of Documentary Arts at Duke University.
The Hartford Times was a daily newspaper for Hartford, Connecticut. Collection consists of 50 black-and-white press photographs taken by Hartford Times staff of Black Caucus protests and marches in Fall 1967, and associated community meetings. Subjects include Black Caucus members, African American residents, student protesters, state and city officials, police, religious leaders, and the press. Protest images show Black Caucus members marching through Hartford and gathering in the State Capitol Building and in Bushnell Park. Individuals highlighted in the images are: John Barber; Boce W. Barlow, Jr.; Rev. Collin Bennett; Lewis Fox; George B. Kinsella; Rev. Robert A. Moody; Robert Morris; and Wilber Smith. Acquired as part of the John Hope Center for African and African American History and Culture, and the Archive of Documentary Arts at Duke University.
Renée Jacobs is a documentary photographer and photojournalist whose project, "Slow Burn," documents the abandonment of Centralia, Pennsylvania due to an underground coal mine fire in the mid-1980s. Her archive includes negatives, contact sheets, gelatin silver work prints and exhibit prints, digital inkjet prints, and publication materials deriving from the project. There are also oral history interviews on audiocassette with residents of Centralia, as well as some correspondence, a 1979 federal government report on Centralia, and color photographs and negatives taken by another photographer who visited the town in 1987. Acquired as part of the Archive of Documentary Arts at Duke University.
The thirty 20x24 inch exhibition-quality color photographs in this collection form a body of work, entitled "Wrecked," that explores the world of American stock car racing and demolition derbies, as well as the drivers, mechanics, pit crews, and spectators who prepare for and take part in the events. The images were taken by photographer Michael Itkoff from 2006 to 2008 at speedways, fairgrounds, and garages in New York State, New Jersey, and Pennsylvania. The prints are accompanied by a video of a demolition derby, a demolition derby team t-shirt, and a safety vest. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection contain images related to two photography projects by Sarah Hoskins. The Homeplace series contains 250 11x14 inch silver gelatin prints documenting Hoskins' visits and relationships with rural African American communities in Kentucky, originally established by freedmen in the 19th century. Her photographs include community events and activities such as hog butchering, church services, family reunions, and gatherings of charity groups. The Rosenwald Schools series contains approximately 300 color digital images of schools for African Americans built during the first half of the 20th century through the Rosenwald foundation, as well as some portraits of former students in Kentucky, North Carolina and Alabama. The series also includes images of a Rosenwald foundation-funded apartment building in Chicago, Illinois. Acquired by the Archive of Documentary Arts.
David Edward Gatten is an American experimental filmmaker and moving image artist. Collection consists of one film reel: "Film for Invisible Ink case no. 323: ONCE UPON A TIME IN THE WEST" (dated 2010; 20 minutes, black-and-white, sound, 16mm). Also includes two copies of the catalog from Gatten's 2012 travelling retrospective of his career: "Ex Libris: Texts of Light," as well as an announcement for the 2012 premiere of his first digital film "The Extravagant Shadows". Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises twenty-five black and white gelatin silver 16x20 inch exhibit prints, representing a larger body of work on contemporary Iowa rural culture. The images portray a changing Midwest of vanishing towns and transformed landscapes. Scenes include cemeteries, slaughterhouses, farms, abandoned grain elevators, and fields. Individuals inhabiting the scenes include young people at leisure, fishermen on the Mississippi, hunters in fields, veterans on Memorial Day, Amish families, as well as more recent arrivals to Iowa, Lubavitcher Hasidic Jews at prayer and migrant workers in the fields and at home. The prints are housed in exhibit mats. Acquired as part of the Archive of Documentary Arts at Duke University.
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 and related materials concerning 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 project also includes over 150 oral history recordings. The Civil Rights series documents voter registration and school desegregation rallies in New York City, 1964-1970, as well as housing and anti-poverty movements, primarily in California. Photographic subjects encompass Puerto Ricans, African Americans, and indigenous peoples, as well as whites and racially mixed people. The professional papers include files related to activism, 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.
Collection consists of over 1100 black-and-white and color exhibit prints representing the work of over 50 South African photographers who documented conditions during and after apartheid, from about the 1940s to 2013, with most dating after 1960. Arranged in five series representing projects curated by documentary photographers Alex Harris, Paul Weinberg, and others: Beyond the Barricades, The Cordoned Heart, Then and Now, Underexposed, and The Other Camera. There is also a series of work by Jeeva Rajgopaul. Set in rural and urban South Africa, the images portray political rallies; protests; forced removals; funerals; social gatherings such as dances and concerts; work and domestic life; the life of the elderly, the migrants, and the impoverished; and labor organizing and strikes. There are many portraits of individuals of all races and classes, well-known activists and politicians, as well as countless ordinary South African citizens. Many of the photographers were members of Afrapix, a collective photography agency engaged in documenting the anti-apartheid struggle. There is a small amount of printed material, as well as a selection of digital image files and a digital audio file of an exhibit talk. Acquired as part of the Archive of Documentary Arts at Duke University.
Pauli Murray was the first Black person to earn a JSD (Doctor of the Science of Law) degree from Yale Law School, a founder of the National Organization for Women and the first Black person perceived as a woman to be ordained an Episcopal priest. The Pauli Murray Center is a non-profit organization located in Pauli Murray's childhood home in Durham, NC. The PMC organizes community projects, walking tours, exhibitions, film exhibitions, and outreach activities, regarding equity and justice.The Pauli Murray Center records collection include materials related to outreach activities, LGBT activism, community projects and oral history projects conducted at Duke University through the Center for Documentary Studies and the Franklin Humanities Institute. Acquired as part of the Human Rights Archive at Duke University.
Video for Social Change was a documentary film course taught by Bruce Orenstein at the Center for Documentary Studies in the spring of 2014. The collection includes eight interviews, with North Carolina social justice activists James Andrews, Rukiya Dillahunt, Anita Earls, Angaza Laughinghouse, Dani Moore, Allison Riggs, Melinda Wiggins, and Mel Williams. The materials in the collection include camera footage in AVCHD format, edited master videos in MP4 format, transcripts, and releases for eight interviews.
Collection comprises 39 digitally printed color photographs selected from a project by photographer Eliot Dudik, "Road Ends in Water," which documents the expansion of U.S. Route 17 in South Carolina and the landscapes, buildings, inhabitants, and way of life in the areas affected by this highway project. Images include house interiors, churches, abandoned buildings, remains of Confederate breastworks, hunting and fishing camps, natural areas, a "hanging tree," old rice fields, and portraits of local people. The prints are sized 15x19 inches. Dudik's work received the 2015 Archive of Documentary Arts Award for Emerging Documentarians and has been published as a photobook in 2010. Acquired as part of the Archive of Documentary Arts at Duke University.
Jim Dow (1942- ) is an American photographer and educator based in Massachusetts. The core of the collection consists of over 1900 single-image photographs, 232 multi-image panoramic prints, and approximately 2300 film negatives, representing black-and-white and color images taken by Dow from 1966 to 2023. It also includes raw and adjusted digital image files that Dow created from his photographic negatives. Subjects include: U.S. vernacular culture and landscapes, including roadside architecture, courthouses and jails, and small business interiors; food vendors, stadiums, and athletic fields around the world; and interiors and exteriors of private clubs, libraries, and churches and museums in cities around the world. Photographs often include cultural expressions such as advertising, murals, bar decor, and graffiti. Dow's U.S. work focuses mainly on New England, the South, and the West, with a single-state project on North Dakota. Other images were taken by Dow in Argentina, Canada, England, Mexico, Portugal, Scotland, and Uruguay, with a few images from Wales. Also included is a series of commissioned work. Dow's professional papers comprise teaching slides, course readers, syllabi, and digital files, as well as art gallery ephemera. Acquired as part of the Archive of Documentary Arts at Duke University.
Daylight is a nonprofit organization dedicated to publishing art and photography books. It was founded by Michael Itkoff and Taj Forer in 2004. This collection includes materials, largely page proofs and galleys, from the publication of several Daylight books. There is also assorted loose materials promoting and publicizing Daylight's publications.
Sarah Christianson is a photographer originally from North Dakota. This portfolio of 30 11x14 inch color chromogenic prints is from her project, "When the Landscape is Quiet Again: North Dakota's Oil Boom," which won the 2015 Archives of Documentary Art Award for Women Documentarians. Since 2012, Christianson has been documenting through her photographs the legacy of oil booms and busts in North Dakota and how the region's agrarian landscape and environment is changing again today, due to horizontal drilling and hydraulic fracturing. Acquired by the Archive of Documentary Arts at Duke University.
Beverly Buchanan was an African American artist who explored Southern vernacular architecture. This collection contains some photographs and images of her artwork, particularly "shacks" and modern ruins, as well as some correspondence from her to Courtney Reid-Eaton at the Center for Documentary Studies. Also contains some materials by Walter Buchanan, Beverly Buchanan's father, whose work as an agricultural scientist in the 1920s inspired her artistic practice and themes.
Collection consists of eight black-and-white photographic prints, most of which were taken as part of Breitenbach's work for his Florida Documentary Project, and two copies of the project's exhibit catalog. The gelatin silver prints measure 14 1/8 x 16 7/8 inches, and are almost all portraits of the many types of people living in Florida and the recreation they enjoy or the significant objects and other people in their lives. Individuals include teenagers, college students, deer hunters, Haitian families and other immigrants; and retirees. Acquired as part of the Archive of Documentary Arts at Duke University.
"From Fallujah" was a group photography exhibit held in Durham, N.C. in October 2021; it was curated by artist and documentarian John Bechtold. Collection consists of 58 inkjet color exhibit prints, 74 proof prints, one digital video of a photographers' panel discussion, and related materials such as correspondence between the curator, translator Noor Ghazi, and the photographers; two exhibit panels; a comment book; and a publicity card. The exhibited images explore the city of Fallūjah, Iraq (ٱلْفَلُّوجَة, al-Fallūjah) from the perspective of four emerging photographers - three men and one woman - from Fallūjah: Harith Khaleel Ali / حارث خليل علي, Mohammed Jamal Ali / محمد جمال, Mohamed Al-Ani (also listed as Mohamed Mahmoud Kazem) / محمد محمود كاظم, and Sura Abbas Jasim / سرى عباس جاسم. Images are chiefly of the city's street life during the day and at night, children in the city, the Euphrates River, and green spaces just outside the city. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises 94 albumen photographs (22 x 28 cm) of Egypt, mounted in two volumes. For the photographs, Hippolyte Arnoux teamed up with the Zangaki photographic studio, probably during the 1860s. Images include mosques at Assan, Hambro, and El Azhar, along with the Palace of Shubra, the Cairo Citadel, Luxor, Thebes, Colossi of Memnon, Edfu, Philae, Karnak, and other monuments and temples, as well as many ancient Egyptian bas reliefs and sculpture. Arnoux's photographs of the Suez Canal are also present. The compositions often include every day Egyptians or street scenes. Many of the photographs were numbered and labeled in French on the negative; others feature brief, handwritten French captions in black ink. The photographs in these volumes were likely selected by an unknown purchaser to be bound together.
This collection includes 23 photographic prints comprising the series Where We Live: A North Carolina Portrait. Photographs taken by Jennifer Jacklin Stratton throughout the state of North Carolina in 2014-2015.
Aaron Siskind (1903-1991) was an American photographer and faculty member of the Chicago Institute of Design and Rhode Island School of Design. Collection consists of 28 black-and-white signed 11x14 inch prints, documenting life in New York City's Harlem neighborhoods from about 1932 to 1940. The images originate from two projects by Siskind: "Harlem Document" and "The Most Crowded Block in the World." Subjects include African American men, women, and children at home and in the streets; scenes from the Apollo and New Lafayette theaters, a nightclub, and a church; and the interiors and exteriors of tenement buildings. Acquired as part of the Archive of Documentary Arts at Duke University.
This collection of 166 black-and-white inkjet 13x19 inch photographs by Glenn Scarboro explores through street photography, landscapes, and portraits the social life and culture of southern Virginia in the 1960s and 1970s. About half of the photographs were taken in Danville, the photographer's hometown, while other images were taken in Richmond, Blacksburg, Roanoke, and other towns of the region. A dozen or so photographs were taken in other states such as Georgia and North Carolina, and there are a few from Rhode Island and New York. The street scenes in Danville and other towns include images of white and African American residents, small businesses, houses, and churches; rural themes include horse shows. county fairs, and country landscapes. There is also a series of family portraits taken in the 1960s. Collection includes one handmade photobook by Scarboro containing eleven photographs and handwritten text. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection of color slides and black-and-white negatives with images taken by an unidentified photographer during travels in Europe and the United States, with a focus on cities and historical sites in Greece, London, Paris, and Italy. Almost all the slides are of landscapes or tourist sites, but there are a few images with people in them. The black-and-white nitrate negatives contain many images of individuals, both adults and children, perhaps family members, chiefly taken in the United States in the 1930s; there are also shots taken in Florence, Torcello, and Venice, Italy. Original captions are in German.
Collection comprises 85 13x19 inch photographic prints and other documents related to the exhibit, "Phone Home Durham, 2015." The images were all taken by 50 residents of Durham County, North Carolina, chiefly with mobile phones but also with handheld cameras, and are mostly color digital prints, with a few black-and-white prints. The photographers focused on urban settings, although there are a few rural images taken in Durham County. The images reflect society and customs in 21st century Durham, with subject content including protests relating to race issues, street scenes, graffiti, abandoned houses, local shops and businesses, industrial buildings, and a few landscapes with trees and sunsets. The exhibit prints are accompanied by exhibit guides and other publicity related to the 2015 exhibition, several photographers' statements, and the original exhibit proposal by Duke University professor and photographer Tom Rankin. The exhibit was co-curated by Aaron Canipe, Alexa Dilworth, Jeremy Lange, and Jim Lee. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection consists of 49 color inkjet prints from the documentary project "Test of Faith" by photographer Lauren Pond. The images are approximately 20x14 inches in size and are unmatted. Between 2011 and 2016, Pond documented the life, death, and West Virginian family of Pentecostal pastor and serpent handler, Mack Wolford, of the Full Gospel Apostolic House of the Lord Jesus in Matoaka, West Virginia. The series includes images of Wolford's death in his family home after he was bitten by the venomous snake. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises 20 gelatin silver prints of images taken during the 1930s and 1940s by photographer Gjon Milin. Through new tecniques of strobe lighting and electronic flash which Mili developed at MIT, the black-and-white images, some of which were used by Life magazine, portray human locomotion and the movements of other physical phenomena such as cascading water, frozen in time. Human subjects include two African American children playing with paddleballs, a man in the shower, a man aiming a racket at a shuttlecock, and female nudes. One image is of the photographer Mili photographing a stream of water with his camera. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection consists of 20 13x19 inch color inkjet photographic collages featuring portraits of young African American men, taken by McFadden, paired with reproduction color portraits of their fathers when they were younger, and a handwritten personal narrative by each youth about what it means to be an African American man in the 21st century. There is also a print with McFadden and his father. Many of the fathers appear in military uniforms. Topics expressed in the personal narratives include stereotypes as well as new definitions of black masculinity; the construction of and attitudes towards race, gender, and sexuality; generational issues; and relationships with fathers. Acquired as part of the Archive of Documentary Arts at Duke University.
Set of 96 black-and-white glass lantern slides used in the United States for the teaching of history and geography. All of the slides except one were published by the Keystone View Company of Meadville, Pennsylvania. The 97th slide is a clear film transparency of a map of Germany following World War I, published by the Excelsior Illustration Company. Images include well-known United States historic sites; landmarks in colonial cities such as Williamsburg and Boston; views and cultural scenes from the Middle East, Japan, Hawaii, Korea, and the Philippines; a U.S. suffragists' parade in 1913; a set of Japanese and Western wedding scenes; and a few images of U.S. troops taken during the Mexican, Cuban and Philippine conflicts and in World War I. One slide shows the ruins of Belleau, France, circa 1918. Another features a memorial portrait of Secretary of State John Hay (d. 1905). The slides all measure 4 x 3.25 inches. They are accompanied by two booklets with detailed narrative entries for most of the slides. Acquired as part of the Archive of Documentary Arts at Duke University.
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.
The images in the collection were taken by British photographer R. B. (Randolph Bezzant) Holmes and possibly others from his studio who traveled with him. Holmes was the owner of the R. B. Holmes & Co. photography studio in Peshawar, Pakistan. Of the 208 prints in the collection, one hundred two are loose, 11.5 x 9.5" black-and-white photographic prints of Afghanistan, India, and Pakistan. The remaining 106 prints are mounted in three commercial albums whose subjects range widely, from Afghan War-period images of the Khyber Pass, Landi Khana, Ali Musjid, and the Kabul River; to pastoral scenes around Nowshera, street scenes in Peshawar city, and panoramic views of the Peshawar Valley, to views from India, including the Jhelum and Liddar valleys, Srinagar, lower Himals, Harabal waterfall, Shalimar, and the Taj Mahal in Agra, to images of Waziristan and the Khyber railway. The sizes of the mounted prints range from 8.25"x5.75" to 11.25"x9", along with some panoramic prints. Acquired as part of the Archive of Documentary Arts.
This collection includes 33 photographic prints comprising the series, Legendary: Inside the House Ballroom Scene by Gerard H. Gaskin, 2012 CDS/ Honickman First Book Prize in Photography Award Winner. Prints were exhibited at the Center for Documentary Studies at Duke University from November 4 2013-February 22 2014.
The DoubleTake magazine records contain story manuscripts with editor's markings, correspondence, photographs and slides, and production files for issue numbers 1-16, 1994-1999. Files of editors Jay Woodruff, Rob Odom, and other editors contain correspondence with writers whose work they were interested in publishing and editing. There are postcards and transparencies used in various issues; and a complete run of the magazine through spring 1999. There are two unidentified files. Acquired as part of the Archive of Documentary Arts at Duke University.
The Center for Documentary Studies was established at Duke University in Durham, N.C. for the study of the documentary process. The collection contains 51 black-and-white and color photographs, chiefly 11x14 and 16x20 inches, that were selected by CDS staff from portfolios published in DoubleTake magazine or by DoubleTake books from 1995 to 1997, and were exhibited at the CDS galleries. Many of the images were taken in the southern United States, but there are also scenes from California, Illinois, Massachusetts, and Pennsylvania, and from countries such as Mexico, Vietnam and Ireland. Some images are dated as early as 1906 and 1940. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises three bodies of color and black-and-white work by photographer Jess T. Dugan: To Survive on this Shore: Photographs of Transgender and Gender Non-Conforming Older Adults (2013-2017); A Moment Collected: Photographs at the Harvard Art Museum (2006-2008); and Look At Me Like You Love Me (2020-2021). Nearly all the images are portraits ranging from staff at the Harvard Art Museum, one of Dugan's earliest projects, to gender non-conforming people, gay men and women, and transgender people. The 120 prints are signed, dated, and titled by the artist. Acquired as part of the Archive of Documentary Arts at Duke Unviversity.
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 comprises 464 original 4x6 inch color snapshots, 23 13x19 inch color inkjet exhibit prints; roll negatives; and text panels for the exhibit, "Photographs by Iraqi Civilians, 2004." The images are a result of a project, "Iraq From Within," coordinated by the North Carolina-based Daylight Community Arts Foundation, which encouraged Iraqi civilians to document through photographs and captions a point of view unavailable to the foreign press. The original color snapshots, taken by men and women chiefly in Baghdad and Fallujah, show families at home and in their neighborhoods, various workplaces, and scenes of wartime destruction. Taken as a whole, the collection conveys the impacts on men, women, and children of the 2003 U.S. invasion and occupation of Iraq. Acquired as part of the Archive of Documentary Arts at Duke University.
Vincent Cianni is a documentary photographer and educator based in New York State. Project themes and subjects in this collection range widely: views of the city of Berlin, the destruction of the Berlin Wall and the reunification of Germany in 1990; mall culture and the social impacts of urban decay in Poughkeepsie, New York State, 1980s; wedding ceremonies and rituals of straight and transgender people, mid-1980s; Latino youth and in-line skating culture in the Williamsburg neighborhood of Brooklyn, New York, mid-1990s-2017; Cambodian kickboxing culture, 2004; the relationship between human story-telling, memory, and landscapes, 2000-2002; and gay pride marches and demonstrations in New York City, 1985-2019. An additional series offers a large set of oral histories of gay individuals in the U.S. military, 2010-2012. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises two portfolios by documentary photographer Rachel Boillot: "Después del dia: Migrant Farmworkers in North Carolina," portraits of farmworkers from across the state of North Carolina, their families, and their residences, and a few shots of workers in the field; and "Moon Shine," portraits of traditional musicians and their families from the eastern Tennessee Cumberland Mountains region, along with images of their residences, interior settings, towns, and natural landscapes. The "Después del dia" work forms part of the multi-artist project "Where we live: a North Carolina portrait." There are 116 color pigment inkjet prints in the collection as a whole, ranging in size from 23x27 to 14x19 inches. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection comprises seven panoramic color photographs measuring 17 x 34.5 inches, whose central panels portray older women who worked in manufacturing and are now retired or laid off; images set along each side of the portraits feature the sites where they once worked. The images were taken by documentary journalist Amanda Berg in five North Carolina locations - Banner Elk, Fayetteville, Lumberton, Massey Hill, and Newland - in 2014 and 2015. They form part of the multi-artist project "Where we live: a North Carolina portrait." Acquired as part of the Archive of Documentary Arts at Duke University.
Shot during fifteen-day Amtrak train excursions, "In Search of Great Men" by photographer McNair Evans combines original photography with first-person, passenger-written accounts in an exploration of contemporary American culture and the people traveling on the Amtrak trains that criss-cross the United States. The photographic body of work consists of 30 large color digital prints, all sized 24x29 inches, featuring portraits of travelers and settings in train stations and passenger cars. The color prints are accompanied by a reproduction of a handmade photonarrative journal of 156 pages with 76 4x5 inch inkjet photographs, paired with comments and journal entries by the photographer, and reproductions of handwritten commentary by the passengers, who reflect on their lives and circumstances, including long-distance family relationships and problems with drug abuse. Acquired as part of the Archive of Documentary Arts at Duke University.
The Full Frame Documentary Film Festival is the largest film festival in the United States entirely devoted to documentary film. Originally the DoubleTake Documentary Film Festival, it is an international event dedicated to the theatrical exhibition of non-fiction cinema, held annually since 1998 in downtown Durham, North Carolina. Typically, more than 100 films are screened, along with discussions, panels, and workshops fostering conversation between filmmakers, film professionals and the public. The Full Frame Archive was created in 2007, as a partnership between Duke University and Full Frame. The Full Frame Archive Film Collection comprises preservation masters of documentary films that won awards at the Full Frame Film Festival between 1998 and 2012. Formats include 35mm film, 16mm film, Digital Betacam cassette, HDCAM cassette, Betacam SP cassette, and DVD. In addition, there is a complete set of festival program books. The films vary widely in topic and style, with a predominant emphasis on human rights issues; all of the films deal with social issues in one way or another. The collection is organized chronologically, by festival year, and acquisitions are ongoing.
Collection comprises fourteen black-and-white inkjet prints of photographs taken in Ireland by Alen MacWeeney, chiefly in 1965. Locations include counties Donegal, Galway, Kerry, Limerick, and Sligo, and the city of Dublin. Portraits of individuals and families, as well as some of animals, coexist with depopulated, dramatic landscapes. The prints measure 13x18 inches. A photobook titled UNDER THE INFLUENCE (2011) which includes these images along with others, accompanied by excerpts of poetry by William B. Yeats, is also held by the Rubenstein Library. Acquired as part of the Archive of Documentary Arts at Duke University.
Collection consists of seven creative projects produced by students in the class "Picturing Activism," taught by Lisa McCarty in Fall 2017 at Duke University. The projects utilize archival and contemporary photographs, narrative, poetry, illustrations, digital documents, posters, and oral history interviews in digital audio format to explore themes related to activism, cultural experiences, and visual culture. Subjects include murals in Durham, N.C.; activism in Alamance County, N.C.; African American women, racism, and political activism; environmental crises and activism through photography; pit bull rescues and animal rights; and Chinese cooking as cultural expression. Some of the archival photographs are from the Rubenstein Library's collections. Aquired as part of the Archive of Documentary Arts at Duke University.
Collection contains 28 color prints from Debi Cornwall's project "Gitmo at Home, Gitmo at Play/Beyond Gitmo." The project pairs images from two series. The first, "Gitmo at Home, Gitmo at Play" was made during three visits to the base in 2014-2015. The series "Beyond Gitmo" consists of environmental portraits of 10 men once held at Gitmo who have since been cleared of charges and freed.
The J. Kirk Felsman Fellowship Collection contains 97 digital photographic prints from the series "Waves of Childhood: Photographs taken by Syrian Girls in Za'atari Refugee Camp" facilitated by 2014 Felsman Fellow Laura Doggett. Acquired as part of the Archive of Documentary Arts at Duke University.
The photographs and papers of documentarian Rob Amberg span the years 1975-2009. The gelatin silver prints and pigmented inkjet color prints in the collection represent three bodies of work: The New Road: I-26 and the Footprints of Progress; The Sodom Laurel Album; and The Vanishing Culture of Agriculture. Amberg focuses primarily on the social life and customs of the rural South, especially in the mountains of his home state of North Carolina. Images range from landscape shots taken before and during construction of an interstate highway in the N.C. mountains, to portraits of individuals and families affected by the changes in rural culture. Images also depict agricultural activies such as tobacco cultivation and dairy cattle farming, as well as work in the poultry industry. He has a special concern for documenting the way in which industrial and economic progress seems to be erasing many aspects of rural culture at the turn of the twenty-first century. Amberg's papers account for the rest of the collection and are organized into five series: Correspondence, Printed Materials, Subject Files, and Writings and Research, and Audio. Acquired as part of the Archives of Documentary Arts at Duke University.
Ben Alper is an artist based in North Carolina. His series, An Index of Walking, won the 2015 Archive of Documentary Arts Award for Documentarians Working in North Carolina. An Index of Walking is a yearlong photographic project that explores the enigmatic intersection of memory, place, geography, and perception. Taken along the same daily walk in his neighborhood, the photographs depict the commonplace objects and spaces that comprise what could be any typical suburban area. Alper writes that "My walks have been a vehicle for exploration, contemplation, and looking; they have provided a structure in which to engage with the place in which I currently live." Collection acquired as part of the Archive of Documentary Arts (Duke University).
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.