Document Spring 2012 by CDS.Duke

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CENTER FOR DOCUMENTARY STUDIES AT DUKE UNIVERSITY

spring 2012 Full Color Depression Curator Bruce Jackson on Kodachrome and the FSA Photographers

In This Timeless Time New CDS Book on Death Row in America

On Exhibit Photo Portraits of Female Veterans

Documentary Radio Project Groundwork Readies for National Broadcast

Undergraduate Education Spring Courses Highlight Food

awards EVENTS COURSES MORE

Document

a Publication of the Center for Documentary Studies at Duke University

919-660-3663 | Fax: 919-681-7600 | E-mail: docstudies@duke.edu | documentarystudies.duke.edu Director: Tom Rankin Associate Director for Programs and Development: Lynn McKnight Publishing Director: Alexa Dilworth Art Director: Bonnie Campbell Communications Coordinator: Elizabeth Phillips Publishing Intern: Joel Mora The Center for Documentary Studies at Duke University teaches, engages in, and presents documentary work grounded in collaborative partnerships and extended ﬁeldwork that uses photography, ﬁlm/video, audio, and narrative writing to capture and convey contemporary memory, life, and culture. CDS values documentary work that balances community goals with individual artistic expression. CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, breaking down barriers to understanding, and illuminating social injustices. CDS conducts its work for local, regional, national, and international audiences. All photographs appearing in Document® are copyright by the artist. | Document® is registered in the U.S. Patent and Trademark Office.

COVER, top to bottom: 1) Sergeant Major Andrea Farmer, U.S. Army, 2008. Photograph by Sascha Pflaeging. 2) Silvestre Tuburcio Noyola at home in San Nicholas, Guerrero, on Mexico’s Costa Chica. He was awarded Mexico’s top award for artists, the Premio Nacional de Ciencias y Artes, in 2001. Photograph by Chris Vail. 3) Thomas Andrew Barefoot. Put to death, November 30, 1984. Photograph by Bruce Jackson. 4) Host Jon Stewart talks with photojournalist Benjamin Lowy about his book, Iraq | Perspectives. 5) Shulman’s Market, 485 ½ N at Union Street, SW, Washington, D.C., 1942. Photograph by Louise Rosskam. 6) From Duke University Libraries’ Behind the Veil collection. Subject, photographer, and date unknown.

contents SPRING 2012 FEATURED 3 Interview with Bruce Jackson Curator of Full Color Depression and Author of In This Timeless Time When Janey Comes Marching Home: Portraits of Women Combat Veterans An Exhibit of Photos and Oral Histories AWARDS 8 CDS/Honickman First Book Prize in Photography Deborah Willis to Judge 2012 Competition

BOOKS 13 New and Recent Publications PEOPLE 14 Chris Vail Visiting Artist Paul Hendrickson Documentary Writing Guest Speaker OTHER NEWS 15 Benjamin Lowy on The Daily Show with Jon Stewart Documenting Medicine Program Podcasts

RADIO 8 Groundwork Project Gears Up with New Website EDUCATION 9 Undergraduate Education Spring Courses Highlight Food Master of Fine Arts in Experimental and Documentary Arts Documentary Fieldwork Class New Student Blog Continuing Education Fall 2011 Certificate in Documentary Arts Graduates Featured Spring Courses and Summer Institutes FILM 13 Full Frame Documentary Film Festival April 12–15, 2012

Visit on the CDS Porch, our news blog, at cdsporch.org

Behind the Veil Digitization Project FRIENDS OF CDS 15 CALENDAR 16

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FEATURED

Interview with Bruce Jackson

Curator of Full Color Depression | Author of In This Timeless Time

ruce Jackson wears many hats—folklorist, documentary filmmaker and photographer, writer, James Agee Professor of American Culture at SUNY–Buffalo—and his talents loom large at CDS this year. He curated the photography exhibit Full Color Depression: First Kodachromes from America’s Heartland, now on view in the Kreps Gallery, and this spring his and Diane Christian’s new book, In This Timeless Time: Living & Dying on Death Row in America, will be published by CDS Books and the University of North Carolina Press. In this excerpt from an interview with CDS publishing intern Joel Mora, Jackson talks about these two projects. JM: Let’s start with Full Color Depression. What did you think when you first saw the Kodachrome images?

BJ: I think like everybody else, I had basically thought of the 1930s in black-and-white. I knew consciously that that was absurd, but my images of that time derive from those iconic FSA black-and-white images by Walker Evans and Dorothea Lange and all the others. I saw these images and it caused me to rethink the whole era. They sort of fill in spaces that I suddenly realized had not been filled in before. I see these images as startling color images in their own right, and I see how some of the photographers are literally figuring out how to see in color and realizing that when you shoot color, you can shoot differently. Before, they didn’t have the choice; now they do. So for me it was very exciting in a lot of historical ways, a lot of visual ways. JM: Now that we know they had the option, what do you think their mental process was in picking color over blackand-white?

BJ: I think as they got used to using this new film some of them started looking for situations where color could be a critical part of what they photographed, and it’s clear that some of them were shooting for color—like Russell Lee. There are several Lee photographs in the exhibit that in black-and-white are really boring images, like the one of the wheat farm [above]. I printed that; I desaturated it and tried to see what it would look like in black-and-white.

He was clearly thinking in color. And Jack Delano was thinking like that. There’s one Delano image in a railroad roundhouse in Chicago and there in the lower right corner is a barrel with fire. Almost everything else in the image is black with white or gray, but that spurt of fire with little red coals at the bottom changes that whole image. Keep in mind that the film cost fifty dollars a roll for 35mm film—eighteen frames—in current dollars. So photographers had to be very careful and parsimonious with the color they shot. They really gave it a lot of thought.

EXHIBIT Full Color Depression: First Kodachromes from America’s Heartland Through July 23, 2012, Kreps Gallery Curator’s Talk and Book Signing: April 19, 6–9 p.m., talk at 7 p.m. Print Auction: June 21, check website for updates

y fullcolordepression.com

Beginning in 1935 the Library of Congress’s Farm Security Administration (FSA) team captured at least 175,000 black-and-white images throughout the country’s heartland. In the late 1930s some of the photographers began making color photos using a new film, Kodachrome; the images were rediscovered in 1978 in the Library of Congress archives. For this exhibit, Bruce Jackson selected and in some instances restored a representative group of images using files made from the original color transparencies, then printed them largescale; the transparencies are in the FSA/Office of War Information Collection at the Prints and Photographs Division, Library of Congress, Washington, D.C.

loc.gov/pictures/collection/fsac/

Wheat farm, Walla Walla, Washington, July 1941. Photograph by Russell Lee. OPPOSITE: Bruce Jackson, Chihuahua Desert, Presidio County, Texas, 2011. Photograph by Michael Lee Jackson.

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JM: There is a somberness and seriousness to the black-andwhites from that time; that’s there in the colors, too, but there seems to be more life in them; they make you feel differently. For instance, those scenes from the Vermont state fair, or the one in Washington, D.C., with a little girl outside of a store. BJ: Oh, I love that picture. That’s by Louise Rosskam. When I take people around the show, I point to that one because it’s got a real rhythm of color. That is an image that is very bright, very alive, that would be uninteresting in black and white, I think you’re right about that. Same with those four from the Vermont state fair by Jack Delano. The one of the family with all the girls and one boy—there are five girls in pink dresses, right in the middle of them is the boy in a light turquoise shirt, a woman is holding an infant in blue, and every one of them is looking in a different direction. That picture is playful—it’s got energy in what’s going on in it even though everyone is standing still—and it’s got that rhythm of color that a black-andwhite image would not have. A lot of the photographers were more playful with color. JM: The images were discovered in 1978; what made you want to curate this exhibit now? BJ: I just found them last year. They were around in ’78 and somebody did an exhibit of them, but they haven’t been shown much. It’s only recently that they’ve been turning up in magazines. I went to the Library of Congress to look at them, and I found that there were these huge files. I downloaded some, and they were beautiful. I worked on them and printed them on 24 x 30 sheets. Nobody I knew, knew about them. So I thought, Why not do an exhibit of them? JM: What was the quality of the film like, and what was the processing like? Was there a lot of cleanup work? BJ: I didn’t use the film. This whole exhibit is done digitally. I made my prints from very high-res scans—tiff files made available by the Library of Congress. I worked on them in Photoshop and Lightroom. Some of them I just had to tweak the color a little bit. Some of them had a lot of dirt on them. The one of the wheat farm, if you open up that file and look at it large, you’ll see lots and lots of dust. I think I took out about a thousand flecks of dust one by one. Others of them I didn’t have to do anything to—they were perfectly exposed, perfectly printed; they were clean. JM: That seems like a big responsibility, to adjust images that come from some of the greatest photographers of our time. BJ: You’re absolutely right. I didn’t feel I had the right to change anything, but I did think it was reasonable for me to Visit on the CDS Porch, our news blog, cdsporch.org

clean them up the way any lab would do for a photographer. Remember, none of these are pictures that these guys and women would’ve printed themselves. They couldn’t print color then, they had to go to [Kodak]. I tried to feel like somebody working in a professional lab—to be consistent with what I thought their image was but to also let it look as good as it could. There’s a photograph of a pile of rusted, junked cars by Russell Lee that’s almost all dark blue and browns. That’s a photograph that was very hard to print only because I had to resist the temptation to brighten up the colors—because what that photograph is about is the muted quality of the image. One of the images I spent a lot of time on, though, was a [Andreas] Feininger photo of a copper mine. In the very lower left corner is a town, but there’s such a range of light in it and such a mass of detail—a church, some other buildings—that it got kind of muddy. I think if Feininger had printed it he would’ve wanted that town, because it really sets off the whole rest of the image. So I tried to bring the town out without changing the balance of the rest of the image. JM: An interesting thing about the FSA, as you say in the catalog, is that “the government treated artists as if they were real workers.” BJ: Artists were treated as if they were plumbers or electricians—people who had a worthwhile craft that the public could make use of. [The project] gave these photographers jobs. It gave them enough money to shoot in places that they would otherwise not get to shoot, and it provided a record that we own. You could pay twenty-thousand dollars or more for a Walker Evans print made from one of his private negatives, but you can get an archival quality print from the Library of Congress for seventy-five bucks, because these are public photographs. What I’m saying is, these are your pictures. JM: Let’s move on to In This Timeless Time. Since we’ve talked about color versus black-and-white, why did you choose to print the book in duotone, even though some of the images were shot in color? BJ: Let me tell you how it came about. Diane Christian, my wife, and I went [to Texas] to do a film and a book about life on Death Row. I wasn’t down there to do still photographs. The film came out in ’79, a book in ’80, both called Death Row. Later I looked at my negatives and realized I had a lot of interesting photographs, too. The best of them were blackand-white. Some were color, but not enough to justify printing [In This Timeless Time] in color—it costs a great deal more, and if you’re going to do some pages in color you have to do

large sections in color, which would then control the organization. So we decided to do it in duotone, and I think one or two of the images I converted to grayscale from color.

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JM: Before your work on this particular Texas Death Row you had opportunities to shoot others but declined. What was it about that one, that you finally felt you should shoot there? BJ: I had done a lot of work in prisons, a lot of books about prisons. But I declined those opportunities because I thought it was voyeuristic, and I didn’t have a project there. However, I did in 1978 see this Death Row, and I realized it was not just one more part of prison. It’s totally different in this regard— this is what the title of the book refers to—you ask anyone who’s been in prison where they’ve been, they say “I was doing time.” In Death Row nobody is doing time. Time doesn’t count. Time is not your sentence. Your sentence is to be killed. You’re held until they decide whether or not they can do it. Death Row is a limbo. So the whole psychology of it, the feeling of it, is very different. In the summer of ’78, my wife and I were at a conference and I mentioned this to Carey McWilliams, who was editor of The Nation magazine. I said, “Somebody should do a film about this,” and he said, “You should,” and I said, “I don’t do films.” He said, “No, you have to. You have the access.” He said it is like there was an ethical responsibility—I could do it, hardly anybody else could do it, and therefore I should do it. So Diane and I did it. Our interest continued over the years, and this new book in a way connects to that earlier work, but it connects it through time.

JM: The photos are beautiful, but some of the subjects have done really horrendous things. You still seem to find a way to make them all individuals.

BJ: That is exactly what those photos are about. A lot of people look at those photos and say, but they look like anybody

In This Timeless Time Living & Dying on Death Row in America

In the series Documentary Arts and Culture Published by the University of North Carolina Press and CDS Books of the Center for Documentary Studies

In This Timeless Time, about life on a Death Row in Texas, features photographs by Bruce Jackson and text by Jackson and Diane Christian. “It is also about all the other Death Rows, which across time and in various places differ in marginal ways but which, at their core, are not significantly different from one another,” as Jackson and Christian write in their preface. The book is made up of three parts: photos taken by Jackson in 1979, commentary written in 2010, and the story of how Jackson and Christian got access to a place from which outsiders are usually excluded. Jackson and Christian are both Distinguished Professors of English at SUNY–Buffalo. 256 pages | 113 duotone photographs $35.00, hardcover | ISBN 978-0-8078-3539-5 Includes a DVD of the documentary Death Row Available in April 2012 in bookstores or by ordering from UNC Press

CLOSE-UP Kerry Max Cook. Exonerated, 1997. Kerry spent twenty-one years on the Row. He had three trials and was convicted and given the death penalty at every one. . . . After the third death sentence was thrown out . . . [h]e pled guilty without admitting guilt . . . and was set free. A few months later, the Innocence Project was able to run DNA tests on the physical evidence. The test showed Kerry could not have been the villain. . . . “Freedom came,” he wrote to us in 2010, “but the shadow of bars follow me.” Text and photo from In This Timeless Time: Living & Dying on Death Row in America, by Bruce Jackson and Diane Christian

else. That’s the point. Monsters don’t look like monsters, and most of them weren’t monsters anyway. A lot of prisoners say the walls, the wire doesn’t exist to keep us in but to keep you out. Who lives there? Who are these people? This is a world most people never see, and it is populated with people who look like us. JM: But what about that conflict that the viewer has? For example, other than the fact that they’re on Death Row, the photo of Ronald “Candyman” O’Bryan playing dominoes with Raymond Riles seems so nice and normal. But then you read the caption and find out O’Bryan murdered his son with cyanide-laced Halloween candy. It’s weird. BJ: It is weird. It is, but deal with it. I think that’s one of things the book should do. I’m not your babysitter. Here’s a piece of the world, here’s what it looks like, here are the conflicts inherent in it. If the reader or looker finds it complicating and unsettling, that’s because it is complicated and unsettling. The fact that they did it, that’s on them; this is on us. JM: In the book you talk about the methodology of the project, and there are even some photos of you at work talking to the prisoners. When you see those photos from 1979, what do you remember of that time? BJ: I often tell my students, the fact that you remember something doesn’t mean that it happened, it means only that you remember it. I remember being there. I remember the people I was talking to vividly. The photographs help me do that. This goes back to the beginning of our conversation. Documentary photographs are a piece of externalized memory. Just as those FSA photos are part of our national externalized memory, these Death Row photographs are part of my externalized memory. It’s great fun for me to have these two projects coming about at the same time—being able to work on those images from photographers whose work I loved from the past and bring it into the present, and then to bring that work that Diane Christian and I did in 1979 into the present as well. Faulkner’s got that line, “The past is never dead. It’s not even past.” To read the full interview:

cdsporch.org/archives/9660

Photographs by Bruce Jackson. OPPOSITE: Vermont state fair, Rutland, September 1941. Photograph by Jack Delano.

y documentarystudies.duke.edu > books Find out more about CDS at documentarystudies.duke.edu

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When Janey Comes Portraits of Women Combat Veterans

he recent launch of the Veterans Oral History Project in North Carolina brings When Janey Comes Marching Home: Portraits of Women Combat Veterans to CDS. The exhibit includes a series of forty large-scale (one is 50 in. x 40 in.; others are 30 in. x 40 in.) color photographic portraits and accompanying oral histories of female soldiers who served in combat zones in Iraq and Afghanistan. The exhibit, and a book of the same name (University of North Carolina Press, 2010), is a collaboration between photographer Sascha Pflaeging and author Laura Browder, Tyler and Alice Haynes Professor in American Studies at the University of Richmond. In taking the photos, Pflaeging was interested in “documenting these women visually while the situation is still present, their feelings and emotions still raw and very real.” The resulting portraits, and accompanying text, convey stories that are by turns moving, comic, heartbreaking, and thoughtprovoking. When Janey Comes Marching Home: Portraits of Women Combat Veterans was made possible by generous grants from the Virginia Foundation for the Humanities, the National Endowment for the Arts, and the College of Humanities and Sciences, Virginia Commonwealth University. The exhibition was organized by the Visual Arts Center of Richmond, where it premiered in 2008. The exhibition tour is administered by the Anderson Gallery, School of the Arts, Virginia Commonwealth University, with additional support from the Virginia Foundation for the Humanities.

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Q&A wIth Laura Browder How did you and the book’s photographer, Sascha Pflaeging, come up with the idea for this project? My book Her Best Shot: Women and Guns in America had just come out when Sascha and I started this project. One of the threads that runs through that book is the issue of women in combat, a hot one since Revolutionary War times. Women are still barred from many combat roles. Yet here we were in the middle of two wars in which women were serving in unprecedented numbers, and in positions of great danger— as convoy gunners, explosives-sniffing dog handlers, military police. Sascha and I were discussing the issue of women in the war, and we decided to interview and photograph women combat veterans. How do these portraits present a new image of women in war? War photography has traditionally focused on men as heroes and aggressors, and on women and children as victims. We thought that photographs of women who are mothers and wounded soldiers could have the power to unsettle our fixed ideas about Americans at war, and that their narratives could add dimension to the often flawed or fragmentary representations of women soldiers in popular culture: as novelties, but not as real soldiers. How did you choose which women to interview? It was very important to us that we include a diverse range of women in the book—not only women from every branch of

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Through April 21, 2012 | Lyndhurst, Porch, and University Galleries the military, commissioned officers and enlisted women, but women who ranged in age from teenagers to grandmothers, and women who reflected the ethnic and racial diversity of the armed services. If we had ever thought of the military as a monolithic institution, that belief was dispelled as soon as we sat down for our first batch of interviews.

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omes Marching Home

What struck you most about these women as a group? I expected that the women I interviewed would see themselves as marginal within the military—because that’s how female soldiers are generally portrayed in the media. Nothing could have been further from the truth: being in the military was absolutely central to their identities. I was amazed at their ability to survive and keep going in circumstances that were very difficult, and often by their ability to balance roles that many of us think of as being very different—as mothers and as warriors. As a whole, how did these women feel their experience in the military was different because they were female? Some talked about their service in all-female units, and others reflected on how they felt they were more compassionate than their male counterparts. Some talked about soldier-on-soldier rape or the need for better gynecological services on their bases—and a few women were offended by the question and said that their gender had nothing to do with their military service. Many of them talked about how they had to prove themselves as women in the military—but they also talked about how the military gave them the opportunity to live the kind of independent, adventurous lives that they had always wanted. How did the mothers describe their experiences being away from their families while serving in the military? There were heartbreaking stories: Army Staff Sergeant Connica McFadden had to deploy with her husband when their baby was six months old and still breastfeeding. When they returned, their daughter didn’t recognize them and cried when she was left alone with them. But there were also many women who talked about how their families did not understand their desire to deploy and the way that conflicted with motherhood—as Marine Sergeant Jocelyn Proano told me, although she had dreaded being deployed because she wanted to stay at home with her one-year-old daughter, her feelings changed once she got her orders: “The mommy mentality left me as soon as we got on that bus. All of a sudden, the Marine hit me and I’m like, all right we’ve got combat training. I’m thinking we’re going to go up there, and we’re going to start shooting.” From “A Conversation with Laura Browder,” author of When Janey Comes Marching Home: Portraits of Women Combat Veterans (University of North Carolina Press, 2010) To read the full interview, and for more information about the exhibit and book, search “Janey” at: uncpress.unc.edu/books

TOP TO BOTTOM: Staff Sergeant Shawntel Lotson, U.S. Army, 2008; Colonel Jenny Holbert, U.S. Marine Corps (ret.), 2008; Staff Sergeant Connica McFadden, U.S. Army, 2008; Lance Corporal Layla Martinez, U.S. Marine Corps, 2008. OPPOSITE: Captain Gabriela Ordonez-Mackey, U.S. Army, 2008. Photographs by Sascha Pflaeging.

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Awards

partment of Photographs at the Metropolitan Museum of Art, judged the second biennial competition (2004). The judges for the next three competitions were photographers Robert Frank (2006), Mary Ellen Mark (2008), and William Eggleston (2010). Submissions will be accepted from June 15 through September 15, 2012. For application guidelines and to view past CDS/Honickman firstbookprizephoto.com First Book Prize winners’ work:

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Groundwork Project Readies for National Broadcast

S CDS/Honickman First Book Prize in Photography Deborah Willis to Judge 2012 Competition

he Center for Documentary Studies and the Honickman Foundation are pleased to announce that Deborah Willis, celebrated photo historian, curator, and photographer, will judge the 2012 CDS/Honickman First Book Prize in Photography competition. “This is a unique opportunity to observe and create new narratives,” says Willis. “There is an absence of new voices in photography books; all of us need this prize to expand our experiences in looking and understanding.” Willis, a 2005 Guggenheim Fellow and Fletcher Fellow and a 2000 MacArthur Fellow, has received an Infinity Award in Writing from the International Center for Photography and was recently named among the “100 Most Important People in Photography” by American Photography magazine. She is chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University. She has been the curator of photographs at the Schomburg Center for Research in Black Culture at the New York Public Library and the exhibitions curator at the Center for African American History and Culture of the Smithsonian Institution. Exhibitions of Willis’s photographs include Progeny, A Sense of Place, Regarding Beauty, Embracing Eatonville, and Re/Righting History: Counternarratives by Contemporary African American Artists. She is the author of Black Venus 2010: They Called Her “Hottentot,” Posing Beauty: African American Images from the 1890s to the Present, Obama: The Historic Campaign in Photographs, The Black Female Body: A Photographic History, A Small Nation of People: W.E.B. DuBois and the Photographs from the Paris Exposition, Reflections in Black: A History of Black Photographers, Picturing Us: African American Identity in Photography, and VanDerZee, among others. Judges for the CDS/Honickman First Book Prize in Photography are among the most significant and innovative artists, curators, and writers in contemporary photography. Photographer and writer Robert Adams was the prize’s inaugural judge in 2002. Maria Morris Hambourg, founding curator of the De-

upported by a $140,000 media grant from the John D. and Catherine T. MacArthur Foundation, Groundwork, a Center for Documentary Studies documentary radio and multimedia project, is gearing up to air this spring with a series of documentary radio features, followed by a onehour documentary radio special this summer. The project also includes a blog and multimedia, interactive website that invites stories and media content from the audience. The aim of Groundwork is to examine the current state of American democracy in six diverse places across the United States—how people solve problems, make decisions, and get things done at the local level when wrestling with issues that also resonate on a national level, like immigration, the environment, energy, and civil rights, among others. “The project essentially asks, at a time when American democracy seems hopelessly polarized and gridlocked at the national level, what does it look like, and sound like, when the people who are trying to work things out are neighbors,” says John Biewen, audio director at CDS and Groundwork producer. “Our six stories come at that question in different ways, and we’ve made no effort to choose stories that illustrate one overarching theme. We’re not claiming, for instance, that everybody in Congress is an awful cretin while the good folk in the rest of the country are salt-of-the-earth examplars of pure democracy. There’ll be inspiring, encouraging moments in these pieces and also dispiriting moments. People will sometimes argue in good faith and hear one another and show willingness to compromise, and sometimes they won’t. Added together, though, we hope the stories will illuminate the give-and-take of this country’s decision-making processes, and remind us of their importance.”

Contribute your own photos and videos, and share stories via groundworkproject.org Facebook and Twitter:

ABOVE: Deborah Willis. Photograph by Hank Willis Thomas. RIGHT: Members of the Watts Street Baptist Church march in the Gay Pride Parade in Durham, North Carolina. Photograph by John Biewen.

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Undergraduate

Spring Courses Highlight Food Some seminal books have contributed to this decade’s groundswell of interest in all things food—from Eric Schlosser’s Fast Food Nation to Michael Pollan’s now-classics, The Omnivore’s Dilemma: A Natural History of Four Meals and In Defense of Food: An Eater’s Manifesto. So it seems fitting that another book, Jonathan Safran Foer’s Eating Animals, helped initiate a groundbreaking new foodrelated class at Duke. Food Studies: Interdisciplinary Approaches to Why, What, and How We Eat is Duke’s first-ever “University Course,” drawing students and faculty from the entire university, across all the various schools, institutes, and disciplines. The class was convened by Dean of Arts and Sciences Laurie Patton and is co-led by Charlie Thompson, director of undergraduate studies at CDS, and Kathy Rudy, associate professor of women’s studies; it features a different speaker and respondent every week, followed by small-group discussions at a communal meal. Topics include attitudes about food in America, the local food movement, and food advertising, among many others. Eating Animals, a review of the food industry, was the 2011 summer reading book for incoming freshmen at UNC and Duke. It struck such a chord with students that it piqued the interest of Duke administrators, including Dean Patton. “I got a call from Lee Baker [Duke’s Dean of Academic Affairs at Trinity College], asking me to put together an outline for an introductory food course,” says Thompson, who has been involved with food issues and organizations since the late ’70s, including Triangle University Food Studies, a student and faculty group formed in 2010. For Thompson, who hopes that the course will lead to a concentration in food studies at Duke, it’s all about upsetting the heirloom-apple cart. “My goal is to take this groundswell of interest and complicate it, to complicate the

narrative of locavorism and organics,” he says. “It has to ask serious questions about justice issues, about who has access. For instance, why are there people from farms in Mexico working on farms in the U.S.? There’s a lot to learn in examining questions like that—from the politics of oil to immigration policy to the history of slavery in this country. It’s complicated; it’s about everything.”

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EDUCATION

A casual remark by CDS director Tom Rankin sparked the idea for another food-oriented class, Our Culinary Cultures, taught at CDS by longtime food journalist Kelly Alexander. She had recently moved to Chapel Hill from New York City when a colleague who’d interviewed Rankin passed along his offhand comment that “he had a bunch of students taking up food-related projects and that it was the damnedest thing.” That remark, wrote Alexander in an e-mail, “spoke to me in a very real and deep way. I had done a lot of things I’d wanted to do as a food writer—traveling the world, meeting some of my idols like Julia Child and Marcella Hazan, and I’d won awards for my work. But I was in a different place for the first time, and my life had changed. And although I wondered how good I’d be at it, I never doubted whether or not I’d be able to share anything of value with Duke students who were interested in food and the subjects that surround it. Because, of course, when you write about food you’re not really writing about food—you’re writing about class and race and religion and, most of all, culture. “I met with Tom Rankin and [CDS director of undergraduate studies] Charlie Thompson about the kind of foodwriting class I could teach. I came in with two basic ‘musts’: I must have a place where I can cook with the students, because it’s cruel and unusual punishment to expect anyone to think about food for any given period of time without eating it; and I wanted to run the class like a real writers’ workshop, as collaboratively as possible. We quickly came up with a class that involved fieldwork and ethnographic documentation, and that was also, and most importantly, fun. Some students are surprised to discover that the class is actually quite a lot of work; but I promise them, and I think I’m good to my word, that it’s going to be a really fun journey, and that they will surprise themselves. And they almost always do, which is my great joy.” Based on student evaluations, Alexander has been ranked among the top 5 percent of Duke undergraduate instructors. To read her remarks in their entirety, go to: cdsporch.org/archives/9619

To see the full listing of spring undergraduate courses in Documentary Studies: cds.aas.duke.edu/courses/undercurrentpast.html

Kelly Alexander teaching Our Culinary Cultures, and a class cooking project. Photographs by Ollie Wilson.

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Master of Fine Arts in Experimental and Documentary Arts

December all fifteen students shared their projects at the Carpentry Shop, home of the MFA program. MFA blog and students’ Influences blog: mfaeda.duke.edu/blogs

MFA student works-in-progress presentations: mfaeda.org/archives/455

To learn more about the MFAEDA:

y mfaeda.duke.edu

Continuing Education Fall 2011 Certificate in Documentary Arts

Anatomy of a Class: Documentary Fieldwork How did the inaugural class of Duke’s first MFA duke program negotiate its first semester? Here, Alex

mfa Harris, a founder of CDS who has been teaching eda documentary photography and writing at Duke

since 1975, gives us his take on a fundamental class experience shared by all fifteen students last fall. My job was to create a fieldwork seminar for the inaugural class of the MFA in Experimental and Documentary Arts. The seminar is an opportunity for students to hit the ground running in the program, to create a new body of documentary work, in a sense to define what they mean by documentary work through their own artistic practice. But how to achieve that goal in a seminar setting with such a diverse group of students, each with a different set of technical and artistic skills, with different life experiences, and each with a particular and distinctive body of work they planned to pursue? I designed a class with a simple premise: that students would learn primarily from doing their own work, but also from one another and from me. It would be our job—together—to create an environment where experimentation and risk-taking were encouraged. Each student met with me individually every other week to discuss their projects, and every third week presented these projects to the class for critique. Very quickly we developed an atmosphere of collaboration in the seminar as students became more and more engaged not only in their own projects but also in their classmates’ emerging work. This new work showed where students were heading, but the students were asked to look back as well. Once a semester each member of the seminar presented his or her influences: the films, photographs, artists, books, music, and experiences that have most influenced their own work. We created a blog, Influences, as a record of those presentations, a syllabus of inspiration for the rest of us, and a place where students can update their entries as they find another artist or body of work that is important to them. We hope the blog is a site that viewers will want to come back to. For any documentary artist, it is important to have an audience in mind while working on a project, and a real-world deadline—the end of the fall semester in our case—to show a work-in-progress in the best format possible. We arranged a public presentation in front of an audience that was responding to these projects for the first time, in many cases, and in

Throughout the year, CDS offers continuing education courses in the documentary arts to people of all ages and backgrounds. Some choose to enroll in the Certificate in Documentary Arts program, which offers a more structured sequence of courses culminating in the Final Seminar in Documentary Studies, where students finish and present a substantial documentary work—photography, film and video, audio, multimedia, and writing projects that often move out into the world in the form of exhibits, installations, screenings, websites, and more. Nine students completed projects in this past fall’s Final Seminar, taught by filmmaker Randolph Benson. In December they presented their work to the public. Angela Alford | Granny’s Got Game [Video] Angela Alford is a first-time filmmaker, a former software engineer, and a basketball player. Angela played for USA Basketball and for Vanderbilt University, where she earned her degree in electrical engineering and computer science. Granny’s Got Game follows a group of septuagenarian women, the Fabulous Seventies, who don’t let age and ailments stop them from doing what they love—playing basketball. William Bailey | Picturing Fletcher’s [Photography] William Bailey was born in New Jersey, and has lived in Virginia, Tennessee, and Washington, D.C. He currently lives in Durham, North Carolina, where he’s a lawyer. When spring comes, he fishes the shad run at Fletcher’s, an old fishing camp on the Potomac. Fletcher’s has been meeting the steady demand for bait, tackle, and boats over the last hundred years, but it’s also a place for releasing the pressures of city life for those in the know. Bill Erwin | Two Expats: Leaving for Love, Changing for Life [Audio] Bill Erwin’s first audio project was a sound yearbook of his senior year at C.E. Byrd High School in Shreveport, Louisiana, recorded in 1964–65. He is Ryan Erwin’s father and Courtney-Anne Erwin’s uncle; his project documents Ryan and Courtney-Anne, two American expats who left the U.S. for an overseas girlfriend and boyfriend, respectively, and the lessons they’ve learned about how to adapt without losing one’s roots.

ABOVE: Kodak. Pigment print from color negative, 18” x 18”, 2011. Photograph by Lisa McCarty. RIGHT: Courtney-Anne Erwin and Ryan Erwin, shown here on a canal tour in Amsterdam, were the subjects of Bill Erwin’s final project about expats learning what it takes to become Europeans without losing their American roots. Photograph by Bill Erwin.

Visit on the CDS Porch, our news blog, at cdsporch.org

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Marc Maximov | Grandpa Gives You the Bird [Video] Marc Maximov took his first class at CDS in 2006, where a course on audio documentary got him started as a sound designer for local theater companies; he is also a frequent contributor to the Independent Weekly. Maximov’s video documents his grandfather Marshall Salzman, who has been folding and handing out origami birds—twentythousand of them by a conservative estimate—for years, a source of joyful interaction for the retired architect.

Jordan Montgomery | Durham Loupe: Taking Another Look [Photography] Jordan Montgomery recently relocated from Seattle, Washington, to Durham, North Carolina. On his first visit downtown, he found himself fascinated with the cityscape—particularly the “Durham Loop,” the heart of the downtown area—and was compelled to document and share what he had witnessed of its revitalization, particularly as the city gains attention as a thriving urban environment. Montgomery has a BFA from the University of North Carolina–Greensboro.

Jennifer Nolan | Schizo Spirit [Audio] Jennifer Nolan is a research fellow at the Center for Child and Family Policy at the Social Science Research Institute at Duke University. Her research interests focus on nonpharmacological approaches for improved functioning and quality of life for people living with severe mental illness, particularly schizophrenia. Her project is a first-person perspective on living with schizophrenia and finding meaning, a sense of purpose, and renewed identity.

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Lauren Feiring | Oscillare [Film & Audio] Lauren Feiring was born and raised in the Inland Empire, a network of commuter towns scarring the valleys between Los Angeles and the desert. After college, she moved to New York City, and ten thousand walks over the Williamsburg Bridge later, to Durham, North Carolina. Oscillare, shot on Super 8 film, follows Alyson Bowles, who has been in the process of transitioning from male to female for the last fifteen years in the Inland Empire city of San Bernardino.

Nina Paukovic | Not at the Mall [Photography] Nina Paukovic was born in Zagreb, Croatia, and graduated from the Faculty of Philosophy at the University of Zagreb. She lives in France, where she works as an administrative assistant at the European Court of Human Rights in Strasbourg. Her photos focus on flea markets as places of marginal/alternative economic activity, which allows them to become alternative spaces for the reinterpretation of sociocultural meanings by cultural minorities—a complex, dynamic, and often humorous interplay. Sarah Stacke | Betty and Bob: Scenes from a Kitchen Table [Multimedia] Sarah Stacke is a professional photographer based in Durham, North Carolina, and Brooklyn, New York. In May, Stacke will graduate from Duke with a master’s in Liberal Studies with a focus in African and African American Studies. This intimate portrayal of her grandparents uncovers Betty and Bob’s legendary World War II love story and explores their sixty-four years of marriage. To view some of the students’ final projects: cdsporch.org/archives/9595

Featured Course Mount a Real Documentary Photography Exhibit April 7–April 28, 2012 With instructors Joy Salyers and Liz Lindsey, students in this new class will meet documentary photographer Cedric Chatterley, examine his photo collection and help conduct the final edit for an exhibit of his work, write the exhibit text, and help mount the exhibit, learning about printing along the way. This class project will culminate with an opening at the Durham County Library on April 29. “It’s fun to raise the curtain on the practical, hands-on tasks of creating and mounting an exhibit,” says Lindsey. “Regardless of your chosen media, it’s hard but thrilling work to tell a good story.” North Carolina at Work: Cedric Chatterley’s Portraits and Landscapes of Traditional Labor will feature images of working North Carolinians, from apple pickers to oyster harvesters to preachers and cooks, and will be the first photo exhibit drawn from an archive of some thirtythousand images, Chatterley’s among them, held jointly by the North Carolina Folklife Institute (NCFI) and the North

New Spring Courses DLSR Video: New Tools for Filmmaking & Media Alex Maness | Beginning/Intermediate February 13–April 2

How to Write a Winning Documentary Proposal Judith Van Wyk | All levels March 3

Successful Collaboration with NGOs Workshop Misha Friedman | Intermediate/Advanced March 3–4

Using Your Voice to Tell Stories Katie Davis | All Levels April 1

ABOVE, top: Video still of the Fabulous Seventies, the septuagenarian women’s basketball team featured in Angela Alford’s documentary Granny’s Got Game. ABOVE, bottom: Betty & Bob Stacke, Single Bed, 2010. Photograph by Sarah Stacke.

Find out more about CDS at documentarystudies.duke.edu

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Carolina Arts Council. The archive is managed by NCFI, which has documented and preserved traditional arts and cultures in the state for almost forty years. NCFI receives support from the National Endowment of the Arts, the North Carolina Arts Council, the North Carolina Humanities Council, the Visual Resources Association Foundation, and others. North Carolina at Work and this original collaboration between NCFI and the Center for Documentary Studies is supported by a grant from the Mary Duke Biddle Foundation. Liz Lindsey is resident curator for the North Carolina at Work exhibit. An independent folklorist, she has worked for more than a decade with nonprofit organizations, established artists, professors, and students who wish to tell stories through exhibits of various media. Lindsey has directed a nonprofit artisans gallery, done archival work for the North Carolina Arts Council and Southern Folklife Collection, and coordinated exhibitions at CDS.

2012 Summer Institutes Summer intensive institutes and weekend courses offer both local students and those who live in other areas the opportunity to participate in the CDS documentary arts program. Classes fill quickly; register now to guarantee your spot. Portraits and Dreams: Literacy Through Photography Katie Hyde | All Levels | May 2–3 and August 3–4 Documenting Medicine: A Day in the Life of a Patient Dr. John Moses, Liisa Ogburn, Erica Rothman, Elena Rue Beginning | May 3–6 Advanced Documentary Photography: Vision and Craft Christopher Sims | Intermediate/Advanced | May 10–13 Documentary Video Institute Randolph Benson, Jim Haverkamp, Simone Keith, Erika Simon, Carol Thomson, Nicole Triche All Levels | June 9–16

Joy Salyers is a folklorist, writer, and anti-racism educator whose specialties include using oral history, experiential learning, and creativity to bridge community divisions, develop identity, and combat prejudice. She is the secretary of the North Carolina Folklore Society and interim director of the North Carolina Folklife Institute.

Intensive Introduction to Documentary Studies

Cedric N. Chatterley received an Emerging Artist Fellowship from the National Endowment for the Arts in 1989, and in 2010 he was awarded a Bush Artist Fellowship in visual arts. His work has been funded by the North Carolina Arts Council, the North Carolina Folklife Institute, and the North Carolina Humanities Council, among others.

Shea Shackelford, Jesse Dukes, Jennifer Deer Intermediate/Advanced | July 29–August 4

There will be an opening reception for North Carolina at Work on April 29, 2012, at 3 p.m. in the auditorium of the Durham County Public Library, 300 N. Roxboro St., Durham, North Carolina. The exhibit will run through June 29.

Michelle Lanier | All Levels | June 24–29 Hearing Is Believing I: Audio Documentary Institute John Biewen | All Levels | July 15–21 Digging In: An Audio Retreat with Big Shed

Master Class: Nonfiction Writing Duncan Murrell and Roger Hodge | Advanced | July 30–August 4 Hearing Is Believing II: Making It Sing John Biewen | Intermediate/Advanced | August 6–11

Read about and register for spring courses and summer institutes: cdscourses.org

Brothers Ray and Walter Davenport, from Tyrrell County, have fished the Albemarle Sound for more than fifty years. Cedric N. Chatterley photographed them in 2007 for the North Carolina Folklife Institute and North Carolina Arts Council when the brothers received the North Carolina Heritage Award, the state’s highest honor for bearers of traditional culture. Photograph by Cedric N. Chatterley.

Visit on the CDS Porch, our news blog, cdsporch.org

The Digital Video Documentary

Full Frame Documentary Film Festival April 12–15, 2012

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Full Frame keeps breaking its own records, not surprising for an event named one of the “Top 50 Film Festivals in the World” by indieWire, with a programming director— Sadie Tillery—named one of the “Most Powerful People in Documentary” by influential journalist Tom Roston. The 2011 festival marked another record year of attendance—more than 29,000 patrons—with a record thirtyfour sold-out events over the course of the annual fourday event in historic downtown Durham, North Carolina. The 2012 festival, April 12–15, will mark Full Frame’s fifteenth anniversary. Dedicated to the theatrical exhibition of nonfiction cinema, Full Frame draws filmmakers and film lovers from around the world for a morning to midnight array of films as well as discussions and panels; events are all within a four-block radius. The intimate setting fosters community and conversation between filmmakers, film professionals, and the public. Passes may still be available through the festival website. Passholders enjoy special benefits, including the opportunity to buy tickets to their preferred screenings before the general public. Schedules and film descriptions will be online and in print the third week of March. Tickets to specific films or events go on sale April 2. The Full Frame Documentary Film Festival is a program of the Center for Documentary Studies and receives support from corporate sponsors, private foundations, and individual donors whose generosity provides the foundation that makes the event possible. The presenting sponsor of the festival is Duke University.

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FILM

Visual storytelling

by Nancy Kalow

To learn more about the festival and to buy a pass or ticket: fullframefest.org

BOOKS New and Recent Publications

CDS Books of the Center for Documentary Studies are works of creative exploration by writers and photographers who convey new ways of seeing and understanding human experience in all its diversity—books that tell stories, challenge our assumptions, awaken our social conscience, and connect life, learning, and art. To learn more about these CDS Books: cds.aas.duke.edu/books/newtitles.html

Find out more about CDS at documentarystudies.duke.edu

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PEOPLE

spent many months and logged thousands of miles speaking with musicians and photographing rural Mexico in the context of its music. Vail is working on a related pilot project as part of a residency at CDS; Rhythms of Change: North Carolina’s Música Latina, focuses on music as a window into the Latino migration to North Carolina. The Mary Duke Biddle Foundation provided the initial funding; additional funding is being sought to continue and build on the project.

y chrisvail.com Paul Hendrickson Documentary Writing Guest Speaker In November writer Paul Hendrickson came to CDS as part of the Documentary Writing Speaker Series to give a presentation on his latest book, the acclaimed Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934–1961, a reconsideration of a key period in the life of Ernest Hemingway. Other writers in the fall speaker series included Jeff Sharlet, Siddhartha Deb, and John Jeremiah Sullivan, all of whom, says CDS writer in residence Duncan Murrell, “come at this kind of writing in different ways, which helps us continue to underline the fact that CDS is a destination for great writers and great instruction in writing.”

Chris Vail Visiting Artist

Chris Vail, a CDS visiting artist and longtime documentary and news photographer, gave a talk at Duke in December on his ongoing project to document the cultural regions of Mexico as defined by various forms of son, a genre of traditional Mexican music. This work began in 2003 while on assignment for the Los Angeles Times; in the succeeding years, he

Author Paul Hendrickson at CDS as part of the Documentary Writing Speaker Series. Photograph by Joel Mora.

TOP: Couple dances to the group Los Matias at a farmworkers’ festival in Newton Grove, North Carolina, in September 2011. BOTTOM: Silvestre Tuburcio Noyola at home in San Nicholas, Guerrero, on Mexico’s Costa Chica. He was awarded Mexico’s top award for artists, the Premio Nacional de Ciencias y Artes in 2001. Photographs by Chris Vail.

Visit on the CDS Porch, our news blog, cdsporch.org

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Ben Lowy on The Daily Show with Jon Stewart Photographer Benjamin Lowy was the guest on The Daily Show with Jon Stewart on Monday, December 5, to discuss his bestselling book, Iraq | Perspectives, published in fall 2011 by Duke University Press and CDS Books of the Center for Documentary Studies following Lowy’s selection as the winner of the 2010 CDS/Honickman First Book Prize in Photography. To read more and watch the video: cdsporch.org/archives/8845

and iTunesU. This digital collection captures the vivid personalities, poignant personal stories, and behind-the-scenes decision making that bring to life the African American experience in the South during the late-nineteenth to mid-twentieth centuries. In a recent followup story, Robert Korstad, a Duke history professor who helped edit the project, and Leslie Brown, an associate professor of history at Williams College who was involved in the original Behind the Veil project, were interviewed on NPR. To explore online, search “Behind the Veil” at: library.duke.edu/digitalcollections/

To listen to the NPR interview: cdsporch.org/archives/8448

Connecting with the Center for Documentary Studies Document Also Available Online cds.aas.duke.edu/about/document.html

Documenting Medicine Podcasts The Documenting Medicine program pairs Duke physician residents and fellows with documentarians at CDS to produce work exploring medical stories. Recent podcasts from the Documenting Medicine Speaker Series are available and include writer Sam Stephenson on “W. Eugene Smith’s Caregiving Photo Essays” and “Can Photography Make You a Better Doctor?” by Duke pediatrician and photographer John Moses, among others. To read more about the program: documentingmedicine.com

View and subscribe to all of the Documenting Medicine podcasts to date: vimeo.com/channels/documentingmedicine

Behind the Veil Digitization Project One hundred oral history recordings of African American life in the Jim Crow South—from the Center for Documentary Studies’ Behind the Veil project—have been digitized and are now available on the Duke University Libraries website

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OTHER NEWS

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Twitter Follow us @CDSduke facebook.com/CDS.Duke Facebook vimeo.com/CDS Vimeo To receive CDS’s e-mails with the latest news and events, click the link under Get Involved on our home page. documentarystudies.duke.edu

Social media icons by Ben Weaver

JOIN FRIENDS OF CDS The best way to get involved at the Center for Documentary Studies is to support the documentary arts. This is easy to do, by making a contribution through Friends of CDS. Through their contributions, Friends of CDS help to support the Center for Documentary Studies, a 501(c)3 nonprofit organization affiliated with Duke University. Because the founders of the Center for Documentary Studies envisioned an organization that would bridge campus and community life, CDS was established as neither an academic department nor a traditional university educational center. Rather, CDS functions as an independent not-for-profit organization, with its own budget and fundraising goals. Two Ways To Give: You may make a secure online donation at cds.aas.duke.edu/donate OR you may send a check payable to “Center for Documentary Studies” at Friends of CDS, 1317 W. Pettigrew Street, Durham, NC 27705 For More Information: Contact Lynn McKnight, Associate Director for Programs and Development, Center for Documentary Studies at Duke University:919-660-3663 or docstudies@duke.edu

TOP: Host Jon Stewart sharing photographs from photojournalist Benjamin Lowy’s book, Iraq | Perspectives, on The Daily Show with Jon Stewart. BOTTOM: From Duke University Libraries’ Behind the Veil collection. Subject, photographer, and date unknown.

Find out more about CDS at documentarystudies.duke.edu

y cds.aas.duke.edu/events/index.html

February 1, 7 p.m. Full Frame Winter Series

March 21, 7 p.m. Film Screeening

April 29, 3 p.m. Picnic and Certificate Ceremony

May 18, 6 p.m. Certificate in Documentary Arts

A special screening of Project Nim by the Full Frame Documentary Film Festival

Roscoe Holcomb: From Daisy, Kentucky, by documentary filmmaker and traditional music expert John Cohen, explores the life of Holcomb, a banjo player and coal miner.

Picnic for graduating Certificate in Documentary Studies students

Graduating students present final projects

Center for Documentary Studies

Nasher Museum of Art

April 29, 3 p.m. Opening Reception

June 15–September 15 CDS/Honickman First Book Prize in Photography Competition

Carolina Theatre, Durham, NC

February 1–March 1 John Hope Franklin Student Documentary Awards Accepting applications for undergraduate summer research awards Center for Documentary Studies

February 6 Lewis Hine Documentary Fellows Program Application deadline for fall 2012 Center for Documentary Studies

February 6 When Janey Comes Marching Home An exhibition featuring photographic portraits and oral histories of female Iraq and Afghanistan war veterans, through April 21 Center for Documentary Studies

February 28 Shared Tables A Triangle-area symposium on local and global sustainable food systems

Center for Documentary Studies

April–May Groundwork: Democracy Close to Home Debut of CDS radio documentary on American democracy in action at the local level groundworkproject.org

April 12–15 Full Frame Documentary Film Festival Screenings of 100 films with directors, discussions, panels, and parties Carolina Theatre and other venues, downtown Durham, NC

April 16 In This Timeless Time: Living & Dying on Death Row in America Newest book, by Bruce Jackson and Diane Christian, in the Documentary Arts and Culture series published by CDS Books and the University of North Carolina Press

UNC–Chapel Hill

documentarystudies.duke.edu > books

February 29 Shared Tables

April 19, 6–9 p.m. Artist’s Talk and Book Signing

A Triangle-area symposium on local and global sustainable food systems Duke University

Bruce Jackson talks about the exhibit Full Color Depression and signs copies of the show’s catalog and the book In This Timeless Time Center for Documentary Studies

North Carolina at Work, a collection of Cedric Chatterley’s photographs organized by students in the continuing education course Mount a Real Documentary Photography Exhibit, through June 29

Accepting submissions; Deborah Willis is the sixth biennial judge. firstbookprizephoto.com

Durham County Public Library

June 21 Print Auction

April 30 Photographs by Hugh Mangum

Center for Documentary Studies

An exhibition curated by Sarah Stacke of work by a turn-of-the-last-century Durham portrait photographer, through October 20 Center for Documentary Studies

May 3–6 Documenting Medicine: A Day in the Life of a Patient New intensive course for beginning students interested in using photography and audio to tell the story of a person with a serious medical condition Center for Documentary Studies

May 7 Undergraduate Student Exhibition Students completing the Certificate in Documentary Studies share their final projects, through September 8 Center for Documentary Studies

A public auction of the prints from the exhibit Full Color Depression

July 30–August 4 Master Class: Nonfiction Writing New summer institute for advanced writers of narrative nonfiction Center for Documentary Studies

August 6 Coney Island 40 Years: Photographs by Harvey Stein This exhibition of images spanning the years 1970–2010 is a meditation on time, history, persistence, and longevity, through October 27 Center for Documentary Studies

Nonproﬁt Organization U.S. Postage

Durham, North Carolina Permit Number 60

All events are on the Duke University campus unless otherwise noted. Please check the CDS calendar on the web for a full events listing and updates to this list

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DOCUMENT a Publication of the Center for Documentary Studies at Duke University | Spring 2012

Calendar

spring 2012