CENTER FOR DOCUMENTARY STUDIESDUKE UNIVERSITYWINTER 2010
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Jazz Loft Project Website, book, radio series, and exhibit
CDS/Honickman First Book Prize in Photography Jennette Williams’s The Bathers Southern Circuit Film Series Tour of Independent Filmmakers Tom Rankin With the Maasai Project in Kenya
Exhibitions
Workshops
On Exhibit Photographs by Cedric Chatterley Continuing Education Courses and Workshops
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Friends of CDS
People EVENTS
AWARDS more
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The Center for
Documentary StuDieS at Duke University
Document
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a Publication of the Center for Documentary Studies at Duke University
1317 West Pettigrew Street | Durham, NC 27705 919-660-3663 | Fax: 919-681-7600 | E-mail: docstudies@duke.edu | http://cds.aas.duke.edu CDS Director: Tom Rankin | CDS Associate Director for Programs & Communications: Lynn McKnight Document ® is edited by Alexa Dilworth and designed by Bonnie Campbell 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: Thelonious Monk. Photograph by W. Eugene Smith, courtesy of the W. Eugene Smith Archive, Center for Creative Photography, The University of Arizona and © The Heirs of W. Eugene Smith. Ann Tome Sintoyia photographs a Samburu herder under an acacia tree, Laikipia, Kenya, 2009. Photograph by Tom Rankin. Emil with snow on his eyelashes, Öskjuhlídarskóli, Reykjavík, Iceland, 2007. Photograph by Mary Ellen Mark. Guha Shankar explains the workings of a digital audio recorder to Ann Tome Sintoyia, Laikipia, Kenya, 2009. Photograph by Tom Rankin.
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Winter 2010
contentscontentscontents Jazz Loft Project 3 Website, book, radio series, and exhibition
Courses & Workshops 14 New Online Registration Site for Continuing Education Courses
CDS/Honickman First Book Prize in Photography 5 Jennette Williams’s The Bathers, with a foreword by Mary Ellen Mark
New Spring Courses
Southern Circuit Film Series 7 Tour of Independent Filmmakers
Summer Institutes Other News 15 Literacy Through Photography in Tanzania Lewis Hine Documentary Fellows Mike Seeger Remembered
books 8 Reality Radio: Telling True Stories in Sound
CDS Awards Deadlines
Beyond Beauty: The Archive of Documentary Arts at Duke University
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People 9 Tom Rankin with the Maasai Project in Kenya Lehman Brady Visiting Professors Farmers and producers gather for Art of Farming Gary Hawkins’s The Rough South of Larry Brown Exhibitions 10 Undrabörn/Extraordinary Child, Photographs by Mary Ellen Mark Olive Branch: Twenty-Five Years in the Life of Mark Fisher and Cedric Chatterley, Photographs by Cedric Chatterley and Reciprocity: Cedric Chatterley’s Handmade Cameras The Collector: Joseph Mitchell’s Quotidian Quest, Photographs by Steve Featherstone Also on View in the CDS Galleries
Visit on the CDS Porch, our news blog, at www.cdsporch.org
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NEWS Jazz Loft Project Website, book, radio series, and exhibition
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n 1955 W. Eugene Smith, a celebrated photographer at Life magazine whose quarrels with his editors were legendary, quit his longtime well-paying job at the magazine. He was thirty-six. He was ambitious, quixotic, in search of greater freedom and artistic license. He turned his attention to a freelance assignment in Pittsburgh, a three-week job that turned into a four-year obsession and, in the end, remained unfinished. In a letter to Ansel Adams, Smith described it as a “debacle” and an “embarrassment.” During this trying period, Smith moved into a dilapidated, five-story loft building at 821 Sixth Avenue in New York City’s wholesale flower district, and there, he told Adams, he was making new photographs that excited him considerably. 821 Sixth Avenue (between Twenty-eighth and Twenty-ninth Streets) was a late-night haunt of musicians, including some of the biggest names in jazz— Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them—and countless fascinating, underground characters. As his ambitions broke down for his epic Pittsburgh project, Smith found solace in the chaotic, somnambulistic world of the loft and its artists. He turned his documentary impulses away from Pittsburgh and toward his offbeat new surroundings. From 1957 to 1965, Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Thelonious Monk, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley.
Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dalí, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others. Writer Sam Stephenson discovered Smith’s jazz loft photographs and tapes twelve years ago, when he was researching another Smith project in the archives at the University of Arizona’s Center for Creative Photography, and he has spent the last eight years cataloging, archiving, selecting, and editing these materials for a book and, along with other partners, a radio series, an exhibition, and a website. W. Eugene Smith’s jazz opus has been legendary in the worlds of art, photography, and music for more than forty years, but until Stephenson uncovered and researched these voluminous records of the loft, few had seen Smith’s extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tale. Now these stories are brought to life, as the Jazz Loft Project, based at the Center for Documentary Studies at Duke University, unveils this seminal chapter in jazz music history.
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The Jazz Loft Project material is “the richest source for the history of modern jazz that I’ve ever seen in my life, period. —Robin D. G. Kelley, author of Thelonious Monk: The Life and Times of an American Original and professor of history and American studies at the University of Southern California
Opposite: W. Eugene Smith’s telephone at the loft. Photograph by Sonia Katchian. Above: W. Eugene Smith at the loft, circa 1957. Photograph by Harold Feinstein. Right: W. Eugene Smith’s tape boxes, courtesy of the W. Eugene Smith Archive, Center for Creative Photography, The University of Arizona and © The Heirs of W. Eugene Smith.
Find Out More about CDS at http://cds.aas.duke.edu
THE RADIO SERIES Premiered in New York on WNYC and nationally on NPR’s Weekend Edition in winter 2009
THE BOOK The Jazz Loft Project: W. Eugene Smith’s Photographs and Tapes from 821 Sixth Avenue, 1957–1965 Published by Alfred A. Knopf in November 2009
Authored by Jazz Loft Project director Sam Stephenson, this book—a kaleidoscopic, non-linear sequence of photographs, tape box cover imagery, anecdotes, and episodic text drawn from project interviews and loft tapes—features top-quality reproductions of 180 photographs made by Smith in the loft building that was the site of now-famous after-hours jazz jam sessions.
Close-Up January 29, 1960—The dawn light begins to rise behind the Empire State Building and other Midtown skyscrapers looming over the modest neighborhood. Three musicians stand together on the sidewalk below talking and laughing. One holds an upright bass in its case, another has a saxophone case slung over his shoulder, and the other is smoking a cigarette. It is six o’clock in the morning; the temperature is a moderate thirty degrees. The musicians are going home after a night-long jam session. . . . Smith snaps a few more pictures. Then he hears the familiar sound of quarter-inch recording tape flapping at the end of a reel on the tape machine sitting in his nearby darkroom. He walks into the darkroom and turns off the machine. He places the reel in a box and labels it, “Zoot Sims, Roy Haynes, Ronnie Free, Eddie DeHaas, Dave McKenna, Henry Grimes, John Mast, Fred Greenwell. January 29, 1960.” He loads a new tape into the machine and presses “play” and “record.” The only sounds in the loft now come from a transistor radio in the corner tuned to the morning news (supporters of Fidel Castro clashed with dissenters in Central Park the day before; fifteen of New York’s hospitals teetered on the brink of bankruptcy). Sounds from the awakening city—honks and chugs of taxis and the Sixth Avenue bus—waft through Smith’s open window. —From Sam Stephenson’s introduction to The Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957–1965
THE WEBSITE
y http://www.jazzloftproject.org Photographs by W. Eugene Smith, courtesy of the W. Eugene Smith Archive, Center for Creative Photography, The University of Arizona and © The Heirs of W. Eugene Smith.
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The Bathers by Jennette Williams, with a Foreword by Mary Ellen Mark
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Organized by the Center for Documentary Studies at Duke University, in association with the Center for Creative Photography (CCP), University of Arizona, The Jazz Loft Project exhibition opens at the New York Public Library for the Performing Arts at Lincoln Center on February 17, 2010. The exhibition, curated by Sam Stephenson and Courtney Reid-Eaton of the Center for Documentary Studies, evokes the jazz loft through images and sound in the first-ever public presentation of Smith’s vintage prints and audio recordings in a single place. After the exhibition closes in May 2010, it will travel to the Nasher Museum of Art at Duke University (February 3–May 22, 2011), the Chicago Cultural Center, and the Center for Creative Photography at the University of Arizona, among other venues.
The Jazz Loft Project Radio Series, produced by WNYC and hosted by award-winning WNYC culture producer Sara Fishko, explores the colorful characters, the exciting street life, and the music captured in the tapes Smith recorded. Fishko weaves stories that emerge in the tapes with interviews with musicians, artists, and neighbors who lived, played, and hung out in the loft. The series features interviews with Sam Stephenson as well as with musicians Jason Moran, David Amram, Teddy Charles, Steve Reich, and Paul Bley; photographers Robert Frank and John Cohen; and scholars Gerald Early and Robin D. G. Kelley, among others. WNYC has made the episodes, as well as out-takes, interviews, and photographs, available on their website.
CDS/Honickman First Book Prize in Photography
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THE EXHIBITION Opens at the New York Public Library for the Performing Arts at Lincoln Center in February 2010
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elebrated photographer Mary Ellen Mark judged the fourth biennial Center for Documentary Studies/Honickman First Book Prize in Photography and chose Jennette Williams, a fine arts photography instructor at the School of Visual Arts in New York City, to win the prize from among three hundred entrants for her stunning platinum prints of women at Hungarian and Turkish bath houses. Williams’s images take us inside spaces intimate and public, austere and sensuous, filled with water, steam, tile, stone, ethereal sunlight, and earthly flesh. Young and old, the women of The Bathers unapologetically inhabit and display their bodies with comfort and ease—floating, showering, conversing, lost in reverie. In creating her photographs for The Bathers, Williams drew on gestures and poses found in iconic paintings of nude women, including tableaux of bathers by Paul Cézanne and Auguste Renoir, renderings of Venus by Giorgione and Titian, Dominique Ingres’s Odalisque and Slave, and Pablo Picasso’s Les Demoiselles d’Avignon. By alluding to these images and others, Williams sought to reflect the religious and mythological associations of water with birth and rebirth, comfort and healing, purification and blessing. She also used copies of the paintings to communicate with her Hungarian- and Turkish-speaking subjects— homemakers, factory workers, saleswomen, secretaries, managers, teachers, and students. Working in steam-filled environments, Williams created quiet, dignified images that not only invoke canonical representations of female nudes but also early pictorial photography. At the same time, they raise contemporary questions about the gaze, the definition of documen-
tary photography, and the representation and perception of beauty and femininity, particularly as they relate to the aging body. But above all else, her photos are sensuously evocative. They invite the viewer to reflect on the allure of the female form. Offered every other year, the Center for Documentary Studies/Honickman First Book Prize competition is open to American photographers of any age who have never published a book-length work and who use their cameras for creative exploration, whether it be of places, people, or communities; of the natural or social world; of beauty at large or the lack of it; of objective or subjective realities. The prize honors work that is visually compelling, that bears witness, and that has integrity of purpose. The winning photographer receives a grant of $3,000, publication of a book of photography, and an exhibit in the Special Collections Gallery, Perkins Library, at Duke University. The judge of the fifth biennial competition (2010) is William Eggleston.
y http://cds.aas.duke.edu/bp The Bathers: Photographs by Jennette Williams With a foreword by Mary Ellen Mark Published by Duke University Press and CDS Books at the Center for Documentary Studies 46 duotone photographs, 11 x 13.75 inches Hardcover, ISBN 978-0-8223-4623-4, $39.95 The Bathers is available from your local bookseller or by ordering directly from Duke University Press at http://www.dukeupress.edu.
THE BATHERS
A new interactive Jazz Loft Project website, designed by the Splinter Group of Carrboro, North Carolina, debuted in October 2009. The media rich site, www.jazzloftproject.org, places the viewer in the world of the loft through text, audio, video, and images. The site, which is frequently updated with new content, includes image galleries, an audio player featuring selections from Smith’s recordings, videos featuring oral history interviews with members of the original loft scene, an evolving directory featuring biographical notes and stories from the approximately 600 people documented by the Jazz Loft Project, and a multimedia blog documenting the continued effort to catalogue, preserve, and present Smith’s work.
Photographs by Jennette Williams
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—Jennette Williams, from her Photographer’s Note
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Southern Circuit Film Series Tour of Independent Filmmakers
ON FIRE
LARRY SCHWARM
Spring 2010 Southern Circuit Screenings at the Center for Documentary Studies Presented by the Center for Documentary Studies with support from the Program in the Arts of the Moving Image at Duke University and the Full Frame Documentary Film Festival Friday, February 19, 7 p.m.
Driftless photographs from iowa DANNY WILCOX FRAZIER Left: Budapest, 2004. Photograph by Jennette Williams. ABOVE, top to bottom: First three CDS/Honickman First Book Prize in Photography winners, Larry Schwarm (2002, Robert Adams, judge), Steven B. Smith (2004, Maria Morris Hambourg, judge); Danny Wilcox Frazier (2006, Robert Frank, judge).
y http://cds.aas.duke.edu/bp
Visit on the CDS Porch, our news blog, at www.cdsporch.org
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I began with simple intentions. I wanted to photograph without sentiment and objectication women daring enough to stand before my camera, and I wanted the photographs to be beautiful. To complement the lushness of the environment and the sensuous bathing experience, I employed the platinum printing process, which assured a broad tonal scale as well as a sense of timelessness, as if the older or “normal” woman had always been a subject of the arts. This ethereal and enduring quality of the images is juxtaposed with contemporary markers such as plastic caps, bathing slippers, and the occasional tattoo. Also, in representing the female form as lone figure or as part of a tableaux, I drew upon the familiar classical gestures and poses of Madonnas and odalisques (virgins) and courtesans found in Western European painting. I photographed in Budapest’s bathhouses for over seven years. While I knew immediately I was in the right place, there were many photographic and nonphotographic obstacles. Not the least of which were the ever-present bath matrons, who resolutely blocked and delayed my entry on a daily basis regardless of the time spent to obtain the right permit and the right stamps and the right signature. On my third visit to Budapest, I decided to photograph in the steam room, hoping to encourage the bathers to disrobe. The steam bath is a hostile environment for even the most obdurate photographer. Equipment breaks; lenses fog; film reticulates; flashes shock and fire unexpectedly; polaroid film melts. The intense heat could not be moderated, and I could only work in eightminute intervals. Yet the bathers and I collaborated and endured for hours, and we managed to make a group portrait that was important to me and that became the starting point of this project. What makes for beauty in women? When I reflect on the photographs, these quiet moments of shared sensual experience, of community, seem punctuated by an element of outrageousness. The sight of women unabashedly at ease in displaying their bodies transformed by age, circumstance, and gravity is hardly commonplace. This only happens when women are living in rather than fighting against their bodies. It is my hope that The Bathers presents another way of viewing the female form and, in turn, demonstrates how capacious our definitions of beauty can be.
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TRIMPIN: The Sound of Invention | Peter Esmonde Recipient of a MacArthur Award and many other accolades, Trimpin, who uses only his last name, combines music-making machines and kinetic sculpture with homegrown computer technology. Working six days a week, twelve hours a day, he has no use for galleries and agents, and has neither website nor cell phone—in fact, he agreed to be the subject of this documentary only reluctantly. The film highlights Trimpin’s moments of discovery, relentless problem solving, and eccentric decision making. What results is an amusing, kinetic exploration of a creative genius in perpetual motion. Trained at Yale University and the American Film Institute Conservatory, filmmaker Peter Esmonde spent more than a decade working in New York and Los Angeles at various tasks in the film industry: writer, researcher, story analyst, assistant editor, sound editor, associate producer, etc. After toiling as a producer at the Discovery Channel in the mid-1990s, Esmonde was targeted by executive headhunters and spent some years foraging in the corporate jungles of North America. He finally emerged in 2005 as a producer and director of documentary films. Esmonde has also taught film, media, and information design at various American universities. Trimpin: The Sound of Invention is his first documentary feature. Friday, March 26, 7 p.m. God’s Architects | Zack Godshall God’s Architects tells the stories of five visionary builders (in Arkansas, California, Louisiana, Mississippi, and Tennessee) and their enigmatic creations. With neither funding nor blueprints, these builders dedicate their entire lives to creating architectural worlds and realms that for most of us exist only in the wilds of the imagination. Beyond the builders and their work, the film indirectly functions as a personal essay that explores the nature of inspiration and dedication to a creative project, no matter how absurd or mysterious the circumstances may seem. After earning an MFA in film from UCLA, Zachary Godshall premiered his first feature, Low and Behold, at the 2007 Sundance Film Festival. A fictional film that includes documentary footage to tell a story set in post-Katrina New Orleans, Low and Behold garnered numerous awards at festivals across the U.S. Godshall lives in his native south Louisiana, where he teaches film and screenwriting at Louisiana State University. He is presently writing a screenplay adaptation of a soon-to-be-published novel by the award-winning writer David Madden.
Friday, April 16, 7 p.m. Between Floors | Jen White Between Floors examines the human condition through a uniquely claustrophobic lens: five stuck elevators and the people trapped inside them. Each elevator becomes an existential purgatory, forcing its occupants to not only confront their isolation, but themselves and each other in varied and unexpected ways. The film is as unusual as it is arresting, blurring lines of genre, tone, and form while its characters are stripped bare— trapped, alone, waiting—and we get to watch what happens. Awkwardly funny, numbingly tragic, anxiously crushing, and ultimately liberating, the film features a colorful variety of characters stripped of control, slowed to a halt, and forced to reflect . . . until the doors open. After graduating from Columbia College Chicago with a BA in film production in 1999, Jen White moved back to her home town of Austin, Texas, where she works primarily as a cinematographer. She has lensed multiple feature films, documentaries, and award-winning shorts and music videos. Her work has aired on A&E, TLC, Discovery, MTV Europe, and PBS, as well as festivals around the world. She is currently preparing her next feature film, a collaborative project with her mentor, to be shot in downtown Chicago in 2010. Between Floors is her feature film debut. The Southern Circuit Tour of Independent Filmmakers is a program of the Southern Arts Federation, a not-for-profit regional arts organization making a positive difference in the arts throughout the South since 1975. Southern Arts Federation is supported by funding and programming partnerships with the National Endowment for the Arts and the state arts agencies of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, and Tennessee. Special support for Southern Circuit is provided by the Academy of Motion Picture Arts and Sciences. For more information on the Southern Arts Federation and its programs visit www.southarts.org.
Film still from Avi Mograbi’s film Z32. The Center for Documentary Studies co-sponsored fall 2009 residencies and screenings at Duke by Israeli filmmakers Ram Loevy and Avi Mograbi as well as a workshop on the Politics of Representation in Documentary with AMES (Asian and Middle Eastern Studies) at Duke University.
Find Out More about CDS at http://cds.aas.duke.edu
With essays by Ira Glass, the Kitchen Sisters, Jay Allison, and others, and a foreword by Rick Moody
Beyond Beauty The Archive of Documentary Arts at Duke University Companion book to the exhibition available “The Archive of Documentary Arts, which has evolved since infancy to be a long-standing collaboration between Perkins Library and the Center for Documentary Studies, has always been concerned with the exquisite intersections between what is document and lyric, cultural and personal—those moments when historical consciousness is hitched to articulations of the present day.” —Tom Rankin, from his Introduction The book Beyond Beauty was created to complement the Nasher Museum of Art’s exhibition Beyond Beauty: Photographs from the Duke University Special Collections Library, which was co-organized by the Library. Beyond Beauty features photographs from the 1860s to the present as well as work by contemporary artists who specialize in documentary photography, many of whom have agreed to place their entire body of work in Duke’s Archive of Documentary Arts. The publication’s title was inspired by remarks made by Paul Kwilecki, who was the first documentary photographer to agree to place his work in the Collections. The book includes photographs by Tom Rankin, Alex Harris, Margaret Sartor, William Gedney, Paul Kwilecki, Sally Mann, Lauren Greenfield, Danny Lyon, Rob Amberg, Vincent Cianni, Jennette Williams, Danny Wilcox Frazier, and Larry Schwarm, among others, as well as photographs from the library’s growing collection of South African documentary photography.
Reality Radio: Telling True Stories in Sound, edited by John Biewen and coedited by Alexa Dilworth of the Center for Documentary Studies, celebrates today’s best audio documentary work by bringing together some of the most influential and innovative practitioners from the United States, Canada, the United Kingdom, and Australia. In these twenty essays, documentary makers tell—and demonstrate, through stories and transcripts—how they make radio the way they do, and why. Whether the contributors call themselves journalists, storytellers, even audio artists—their essays are just as diverse in content and approach—all use sound to tell true stories, artfully. A book launch party will be held in conjunction with Third Coast’s Filmless Festival on March 6, 2010, at the Museum of Contemporary Art in Chicago.
Beyond Beauty: The Archive of Documentary Arts at Duke University Preface by Robert L. Byrd, Introduction by Tom Rankin Published by the Rare Book, Manuscript, and Special Collections Library and the Center for Documentary Studies at Duke University 101 black and white and color photographs, 128 pages
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Tom Rankin with the Maasai Project in Kenya “In July I traveled to Kenya with Wend Wendland of the World Intellectural Property Organization (WIPO) in Geneva and Guha Shankar of the American Folklife Center (AFC) at the Library of Congress to continue our project to assist the Maasai community of Laikipia in documenting their own culture. Working with the Maasai Cultural Heritage, we spent nine days training Maasai to document their own community, producing new images and audio recordings that will help preserve and protect Maasai creativity and history. The fundamental goal of the project is to build an archive about the Maasai by the Maasai, supplementing and countering the many ways in which the tribe has been ‘pictured’ by others. In addition to the partnership between WIPO, AFC, and CDS, we also worked closely with Kiprop Lagat of the National Museums of Kenya in Nairobi, another major partner. Our time in Kenya, where we stayed in the Il Ngwesi community, was a continuation of training begun in Washington and at CDS last year when Ann Tome Sintoyia and John Ole Tingoi, both of Maasai Cultural Heritage, and Kiprop Lagat visited here. In a community ceremony, under the shade of a majestic acacia tree, still cameras, audio recorders, and computer equipment for supporting a digital archive, all provided by the World Intellectual Property Organization (WIPO), were formally handed over to Chief Kisio and other elders of the Maasai community.” — Tom Rankin, Director, Center for Documentary Studies at Duke University
y http://www.cdsporch.org/?p=630
Beyond Beauty is available from the Duke University Special Collections Library.
y h ttp://library.duke.edu/specialcollections/ documentaryarts/donate.html
To learn more about the Filmless Festival:
y www.thirdcoastfestival.org Reality Radio: Telling True Stories in Sound Edited by John Biewen, coedited by Alexa Dilworth With a foreword by Rick Moody Published by the University of North Carolina Press and CDS Books at the Center for Documentary Studies 196 pages Hardcover, ISBN 978-0-8078-3357-5, $45.00 Paperback, ISBN 978-0-8078-7102-7, $22.95 Reality Radio is available from your local bookseller or by ordering directly from the University of North Carolina Press.
y www.uncpress.unc.edu
Visit on the CDS Porch, our news blog, at www.cdsporch.org
Kiprop Lagat of the National Museums of Kenya photographs two Maasai in Il Ngwesi village, Kenya, 2009. Photograph by Tom Rankin.
Photograph by Gaspar Tringale
Reality Radio Debuts in March
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Lehman Brady Visiting Professors Paul Hendrickson The Center for Documentary Studies coordinates a visiting joint chair professorship in Documentary Studies and American Studies at Duke and UNC–Chapel Hill, known as the Lehman Brady Chair, a collaborative, cross-campus arrangement that affords significant opportunities for study, research, and participation in educational activities associated with distinguished writers, photographers, filmmakers, and other practitioners and scholars of the documentary arts. In fall 2009, Paul Hendrickson was at the Center for Documentary Studies as the twelfth Lehman Brady Visiting Professor. Hendrickson’s most recent book, Sons of Mississippi (Alfred A. Knopf, 2003), a study of the legacy of racism in the families of seven Mississippi sheriffs of the 1960s, won the National Book Critics Circle Award in general nonfiction and the Heartland Prize presented annually by the Chicago Tribune. In addition, it was named by many newspapers to their Top Ten lists. The research and writing, which took about five years, were supported by a Guggenheim Foundation fellowship and a National Endowment for the Arts literature fellowship. Hendrickson was born in California but grew up in the Midwest and in a Catholic seminary in the Deep South, where he studied seven years for the missionary priesthood. This became the subject of his first book, published in 1983: Seminary: A Search. His other books are Looking for the Light: The Hidden Life and Art of Marion Post Wolcott (a finalist for the 1992 National Book Critics Circle Award) and The Living and the Dead: Robert McNamara and Five Lives of a Lost War (finalist for the National Book Award in 1996). They, too, were published by Knopf. He’s currently deep into the research and writing for his next nonfiction book, which has to do with Ernest Hemingway. Before joining the faculty at the University of Pennsylvania, where he conducts writing workshops in advanced nonfiction and received the Provost’s Award for Distinguished Teaching, Hendrickson worked for thirty years in daily journalism. He was a staff feature writer at the Washington Post from 1977 to 2001.
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Mike Wiley Mike Wiley, a gifted playwright and actor formerly of Theatre IV and Shenandoah Shakespeare Express, is the Lehman Brady Visiting Professor for spring and fall 2010. His work includes Blood Done Sign My Name; Life Is So Good; Tired Souls: The Montgomery Bus Boycott; Dar He: The Story of Emmett Till; Jackie Robinson: A Game Apart; Brown v. Board of Education: Over Fifty Years Later; and One Noble Journey: A Box Marked Freedom.
exhibitions Gallery Hours: Monday–Saturday: 9 a.m. to 5 p.m.
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Photograph courtesy of www.mikewileyproductions.com
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The Lehman Brady Chair is supported by two endowment funds,
one established at the Center for Documentary Studies by the Lyndhurst Foundation and the other established at Duke University by the bequest of Lehman Brady, an attorney from Durham, North Carolina, who died in 1995. The Lehman Brady Professor teaches courses at both Duke University and the University of North Carolina–Chapel Hill and engages in lectures, film screenings, and other events for students and the general public. Past Lehman Brady Chairs are Alice Gerrard, Rayna Green, Brett Cook, David S. Cecelski, Karen Michel, Natasha Trethewey, Allan Gurganus, John Cohen, Randall Kenan, Deborah Willis, and Bill C. Malone.
Farm family members featured in the national documentary project Five Farms: Stories from American Farm Families, along with staff from the production team, at the Center for Documentary Studies for The Art of Farming public symposium on December 4–5, 2009. Photograph by Christopher Sims. Visit the Five Farms website to listen to the audio documentaries and to view photographs from each farm.
y http://cds.aas.duke.edu/fivefarms
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Undrabörn/Extraordinary Child Photographs by Mary Ellen Mark November 5, 2009–January 10, 2010 Kreps and Lyndhurst Galleries Public film screening of Martin Bell’s Alexander at the Nasher Museum of Art at Duke University In Undrabörn/Extraordinary Child Mary Ellen Mark portrays in intimate detail the lives of Icelandic children coping with a variety of physical and mental challenges as they go about their daily activities. Moving and poignant, sad and joyous, these photographs take us into a reality that adjoins our own but is seldom seen. The images also powerfully illuminate one of Iceland’s core values, a basic educational policy that calls for schools “without differentiation.” While parents are increasingly enrolling their children in conventional schools, there are those who continue to choose schools that specialize in teaching children with severe learning disabilities, believing that with experienced support and encouragement their children will gain independence and develop abilities that defy expectations. The exhibit first opened at the National Museum of Iceland as part of its mission to emphasize the diverse facets of Icelandic history and society. During the seven weeks that photographer Mary Ellen Mark and her husband, Martin Bell, spent in Iceland from 2005 to 2007, Bell made Alexander, a film about an extraordinary boy and his family. Bell is a documentary filmmaker whose titles include the Academy Award–nominated Streetwise, which follows the lives of runaway kids on the streets of Seattle, and The Amazing Plastic Lady, which is set in the Indian Circus.
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THEROUGHSOUTHOF
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ne of the 13 Essential Southern aries by Oxford American Magazine, The h of Larry Brown weaves interviews of d his wife, Mary Annie, with narrative of three of his short stories, Boy & Dog, and Samaritans, brought vividly to the ith performances by Will Patton The Titans), Paul Schneider (All The Real Natalie Canerday (Sling Blade). The result and compelling examination of the life of the late Oxford, Mississippi firemaner.
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LARRY BROWN
Now available on DVD The Rough South of Larry Brown, newly re-edited and remastered to encompass the aftermath of Brown’s death in 2004. Written and directed by Gary Hawkins, and featuring an THE original score by Vic Chesnutt. ROUGHSOUTH OF
Reciprocity: Cedric Chatterley’s Handmade Cameras January 28–May 23, 2010 Kreps and Lyndhurst Galleries Olive Branch Cedric Chatterley was a graduate student in photography, hanging out with his camera in Cairo, Illinois, when he was approached by a young man who invited him to photograph “everything in my house that’s broken.” Mark Fisher believed in the power of the photographic document to facilitate change, and thus began Chatterley and Fisher’s twenty-five year (so far) collaborative project Olive Branch, named for Mark’s Illinois hometown. The exhibition, which includes photographs, journals, ephemera, and handmade cameras, documents nearly three decades of Mark Fisher’s life and reveals the evolution of this remarkable relationship at the foundation of Chatterley’s most important work. Reciprocity Cedric Chatterley makes photographs using film and he still prints in the darkroom. A few years ago, he started making cameras. The first cameras Chatterley built were made for him alone, an exercise in the imaginative and practical use of found objects and cast-off materials. He then became inspired to collaborate with friends and fellow artists—not only in creating images but also in constructing the instruments used to make them.
“ The son and his mother now live in a different house, in a different southern Illinois town, not far from where we met twenty years ago. My name is on their painted mailbox just below their names. . . . This place—their home and my sometimes home—is central to my travels, both real and imagined.”—Cedric Chatterley
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LARRY BROWN
“A beautifully conceived documentary inquiry.”—Scott Foundas, Variety
edited and re-mastered to encompass ath of Brown's death in 2004, and feariginal score by Vic Chesnutt, The Rough arry Brown is a rich exploration of the nd the words and the woman behind
“As colorful and evocative as [Brown’s] gritty literary milieu.”—Michael Rechtshaffen, The Hollywood Reporter
orful and evocative as ] gritty literary milieu.”
Named one of the 13 Essential Southern Documentaries by The Oxford American
shaffen, THE HOLLYWOOD REPORTER
INMENT AND BLUE MOON FILM PRODUCTIONS PRESENT S FILM “THE ROUGH SOUTH OF LARRY BROWN” LIE CANERDAY PAUL SCHNEIDER LARRY BROWN N GONZALES ORIGINAL SCORE BY VIC CHESTNUTT ANICE GINSBERG CO-PRODUCER ERIN ALDRIDGE H PRODUCED BY SAM FROELICH LISA MUSKAT JAMES MARCOVITZ TEN AND DIRECTED BY GARY HAWKINS
Olive Branch: Twenty-five Years in the Life of Mark Fisher and Cedric Chatterley, Photographs by Cedric Chatterley
“A BEAUTIFULLY CONCEIVED DOCUMENTARY INQUIRY” —SCOTT FOUNDAS, VARIETY
y http://cds.aas.duke.edu/film/larrybrown.html
OPPOSITE: Sigurjón with a captured bee, Öskjuhlídarskóli, Reykjavík, Iceland, 2005. Photograph by Mary Ellen Mark. ABOVE: Mark digging for ginseng roots in the hills behind Olive Branch, Illinois, spring 1986. Photograph by Cedric Chatterley. RIGHT, top to bottom: Views of Cedric Chatterley’s handmade cameras from the exhibit Reciprocity. Photographs by Christopher Sims.
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C M Y K
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The Collector Joseph Mitchell’s Quotidian Quest Photographs by Steve Featherstone Text by Paul Maliszewski September 3–October 25, 2009 Kreps and Lyndhurst Galleries Joseph Mitchell, a staff writer for The New Yorker for almost sixty years, became increasingly interested in the disappearing physical world inhabited by the ordinary people featured in his stories. Over time, he amassed an incredible collection of artifacts that documented places and practices falling into decay, or being rendered obsolete. Photographer Steve Featherstone and writer Paul Maliszewski have embarked on a restoration effort not unlike Mitchell’s, to understand and document the past, through selected objects from Mitchell’s collection, and to tell these stories in the present moment. Through Featherstone’s photographs and text by Maliszewski, the exhibition The Collector beckons the viewer into the intimate, mysterious world that this admired writer witnessed, saved, and left behind. Steve Featherstone is a photographer and a writer whose work has appeared in Harper’s, Granta, Slate, McSweeney’s, and Popular Science. He has documented scientists simulating a Mars habitat in the Utah desert, emerald mining in the Yukon Territory, the Maori in remote North East Arnhem Land, and researchers’ attempts to map the ocean floor, among other topics. He has an MFA in fiction writing from Syracuse University. Writer Paul Maliszewski has published essays in the Wilson Quarterly, Smithsonian, Harper’s, Granta, and Bookforum, among other magazines. His stories have appeared in the Paris Review, Fence, Gettysburg Review, StoryQuarterly, McSweeney’s, and other publications. Three-time winner of the Pushcart Prize, he received an MFA in writing from Syracuse University.
Joseph Mitchell was born in 1908 in Fairmont, North Carolina, a small farming town in the swampy southeastern part of the state. He moved to New York in 1929, just after the stock market crash, and he soon found a job covering the crime beat in Harlem for the Herald Tribune. Later, he worked for other New York papers, the Morning World and the World-Telegram, writing celebrity features about people such as Emma Goldman, Noël Coward, and Eleanor Roosevelt. In 1937, he was hired by The New Yorker. His editors there encouraged his wish to write about less-celebrated people, and for the next thirty years he perfected his craft, writing profiles of a bearded lady, the owner and operator of a flea circus, a self-proclaimed naval commodore, and a gypsy king, as well as a couple eking out their existence in a cave in Central Park during the Depression. In his most famous article, he described Joe Gould, a man whose life’s work was to record local conversation, jokes, anecdotes, and gossip. Gould estimated he’d written “approximately nine million two hundred and fifty-five thousand words,” all in notebooks that he’d allegedly squirreled away in the houses of friends (and no-longer-friends), at favored restaurants, and in a barn on Long Island. Little of Gould’s work ever saw print. “Joe Gould’s Secret” appeared in The New Yorker in 1964 and was hailed as Mitchell’s best work yet. It was the last story Mitchell published, in The New Yorker or anywhere else. According to Roger Angell, for many years an editor at the magazine, Mitchell continued to come in to work “almost every day for the next thirty-one years and six months.” Others remember hearing him typing. But he never submitted anything new. What Mitchell was working on was the subject of much speculation. Nobody dared ask. A collection of his New Yorker articles, Up in the Old Hotel, appeared in 1992 and won acclaim and wide sales. In 1996, he died. I first learned of Mitchell’s collecting in an article about him by Mark Singer in The New Yorker. Singer described Mitchell’s “odd treasures—glass bottlenecks, New York hotel spoons, brass hinges” and suggested that all these bits of Mitchell’s past “gave him far more comfort than the present.” I got in touch with Mitchell’s daughters, Nora Sanborn and Elizabeth Mitchell, who now keep what their father had collected from the streets of New York and the fields of North Carolina. Nora invited me and Steve Featherstone, a photographer and a friend, to her house in New Jersey to have a look.
This collection was, in a sense, a continuation of his literary project: to remind us that the ordinary is exotic, important, and worth careful attention. —Sam Stephenson, “The Collector of the Everyday,” The Oxford American, Issue 61
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Mitchell seemed most drawn to broken bits of New York’s past. He collected things from all over New York, but he paid particular attention to lower Manhattan—especially South Street and the Fulton Fish Market, and the neighborhood that has become known as the Financial District. Beginning in the 1960s, many old buildings there were slated for demolition. To Mitchell these were prime locations to hunt for architectural details, doorknobs, fragments of floor tile, lengths of wiring torn out of the walls, and cast-iron structural supports—long T-shaped bars that he sought to salvage, with his usual thoroughness, with the nails still attached. And in southeastern North Carolina, to which he often returned, Mitchell walked the fields around the farm his family had worked for more than two hundred years, looking for whatever the plow or the rains had uncovered. Mitchell’s daughters agree that in the late 1960s, as New York entered a period of rapid and often heedless development, Mitchell’s collecting acquired greater urgency. Throughout the city, old buildings were coming down, and New York’s eccentrics, Mitchell’s subjects and his friends, were being pushed out, displaced by steeper rents and higher prices. “He grabbed what he could,” Elizabeth said. “He was rebuilding [the] New York [of] when he first came to the city, all that it was then. He was trying to preserve it, but not in a big, long-winded way. He just delighted in it.” Mitchell’s collecting, even in its most driven period, after he had published his last article, was not some pursuit he undertook instead of writing, but rather an integral part of being the kind of reporter he was. Taking notes and collecting was part of experiencing the world with real depth, a way to be engaged with it. Was there a right person who could look at this collection and find stories in pottery fragments, handmade nails, and the evolution of doorknob design? Who was conversant in the vast history of people moving, settling, building houses for their families, and then moving on? I tried to picture such a wideranging specialist, someone whose interests were varied, who was curious by nature, and whose knowledge—and love of learning more—ran deep, but could only picture Mitchell himself. — From Paul Maliszewski’s “The Collector,” Granta (Issue no. 88, Winter 2004)
Also on View in the CDS Galleries Walls That Speak: Photographs by Pac McLaurin December 11, 2009–February 27, 2010 University Gallery Several years ago while working with a church-sponsored youth camp in western North Carolina, I visited one of the service sites where the kids were volunteering. The walls of the house were decorated with drawings and cutouts from magazines and catalogs. I had the good fortune to meet the two brothers, both in their sixties, who lived there and who created these artworks. Both of the brothers are developmentally disabled and during their childhood on the family farm, their mother set them to drawing and cutting out images. In looking at these rooms, and seeing how the brothers’ art developed over time, many layers of meaning are revealed, and it is clear that the result of their mother’s effort to create a safe place for them, their own place, lasted for most of their lives. In 2008, the brothers moved into an adult-care home, because their aging sister could no longer manage their care. —Pac McLaurin
We Cheat Each Other: Photographs by Eric Gottesman August 24–December 19, 2009 Porch Gallery Over the last ten years, I have engaged children in Addis Ababa, Ethiopia, in a series of artistic interventions begun when I was awarded a Hart Fellowship from Duke University in 1999. Together, we have used photography, video, audio, and text to document their lives and to counteract the stereotypical images—about violence, chaos, and suffering in Africa—that have been made about them. The exhibit at the Center for Documentary Studies centers around one of these children, Salamawit Alemu, with whom I began working when she was eight years old. The pictures and letters stem from our years of working together, during which I have become a historian of her life. —Eric Gottesman
Objects from Joseph Mitchell’s collection. Photographs by Steve Featherstone.
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CDS Awards Deadlines
Courses&WORKSHOPS
John Hope Franklin Student Documentary Awards
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This year marks the twentieth anniversary of the John Hope Franklin Student Documentary Awards, established in 1989 by the Center for Documentary Studies (CDS). The awards are named for the noted scholar John Hope Franklin, professor emeritus of history at Duke University, in recognition of his lifetime accomplishments and his dedication to students and teaching. CDS makes awards of up to $2,000 to undergraduates attending Triangle-area universities to help them conduct summer-long documentary projects. Submissions accepted during the month of February. Deadline: March 1, 2010.
he Center for Documentary Studies at Duke University has focused since its founding in 1989 on cultivating new talent in the documentary field. From international awards to award-winning books, from exhibitions of new and established artists to nationally recognized radio broadcasts, from fieldwork projects in the U.S. to documentary work abroad, from university undergraduate courses to popular summer institutes, attracting students from across the country—the Center for Documentary Studies is actively engaged in sharing the documentary arts with a broad audience and in educating students of all ages and levels of expertise. Continuing Education in the Documentary Arts The Center for Documentary Studies (CDS) at Duke University offers a wide range of short courses, institutes, and workshops for adults who are interested in learning to do their own documentary work. These documentary arts courses, available through flexible admission with reasonable fees, involve instruction in photography, film and video, audio, and writing. Special topics and such subjects as documentary traditions, techniques, fieldwork theory, and ethics involved in conducting and presenting documentary work are included. The hands-on courses at CDS help adults achieve their goals of completing a first project or refining an ongoing project. All courses are designed to help students explore concepts in the documentary arts and apply them to their own work. This open-admissions adult education program includes the option of completing a Certificate in Documentary Arts, which requires a minimum of six sixteen-hour courses (or the equivalent) and the completion of a final documentary project. Most courses are offered during the evening or on weekends, to accommodate the schedules of working adults. Certificate in Documentary Arts The cornerstone of the CDS continuing education program is the Certificate in Documentary Arts. Enrollment in the certificate program is not required for students to take CDS courses; however, working toward a certificate provides a more formal process for involvement and for reaching specific goals. No
NEW SPRING COURSES The South in Black and White Tim Tyson & Mary D. Williams | All Levels January 26–April 6 | Center for Documentary Studies The Documentary Theater Project Mike Wiley | All Levels February 15–April 5 | Center for Documentary Studies Writing for Radio Katie Davis | All Levels May 1 and 2 | Center for Documentary Studies
y http://cds.aas.duke.edu/jhf/index.html NEW Daylight/CDS Photo Awards
2010 SUMMER INSTITUTES Advanced Documentary Photography: Vision and Craft Alex Harris | Intermediate/Advanced May 10–14 | Smith Warehouse and Center for Documentary Studies Intensive Introduction to Documentary Studies Joy M.G. Salyers | All Levels June 6–11 | Center for Documentary Studies Documentary Video Institute Randolph Benson, Jim Haverkamp, Simone Keith, Erika Simon, Carol Thomson, Nicole Triche | All Levels June 19–26 | Center for Documentary Studies Hearing Is Believing I: Audio Documentary Institute John Biewen | All Levels July 24–31 | Center for Documentary Studies Hearing Is Believing II: Making It Sing John Biewen | Intermediate/ Advanced August 9–14 | Center for Documentary Studies
prior educational specialization or expertise is required for enrollment in the program. Certificate students receive special invitations to events and other unique opportunities at CDS . The certificate program establishes a process for engaging and empowering already motivated people to do the work they care about. Specific project goals, integral to the certificate program, create better opportunities for the successful completion of this work. In addition, certificate students can become part of a vibrant program with interested, supportive colleagues. Students are encouraged to think broadly about their projects. While most are photo, audio, or video projects, students have also completed multimedia projects, websites, books, and installations. Weekend Courses and Summer Institutes Weekend courses and summer intensive institutes offer both local students and those who live in other areas the opportunity to participate in the CDS documentary arts program. Video, audio, and Literacy Through Photography institutes and an Intensive Introduction to Documentary Studies course are available during the summer months. Students may receive continuing education credit toward the Certificate in Documentary Arts for some of these institutes and workshops. Examples of work produced in these institutes are posted on the Duke University iTunes site and the CDS website.
Publishing Video on the Web Carol Thomson | All Levels May 1 | Center for Documentary Studies
CDS Continuing Education
Camera Techniques for Documentary Wendy Smith | Beginning/Intermediate May 15 | Center for Documentary Studies
y http://cds.aas.duke.edu/courses/conted.html
Download a pdf of spring and summer 2010 continuing education courses, workshops, and institutes at:
New registration site for CDS continuing education courses! Visit on the CDS Porch, our news blog, at www.cdsporch.org
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other NEWS LTP in Tanzania Literacy Through Photography staff members traveled with eight Duke students in the DukeEngage program to Arusha, Tanzania. Over the course of eight weeks, they together offered training to fifty teachers and co-taught lessons that involved more than 650 Arusha students. The summer experience culminated with a public exhibition of the children’s work.
y http://literacythroughphotography.wordpress.com Lewis Hine Documentary Fellow Rebecca Herman
Documented: Stories from Both Sides of the Border To learn more about the Lewis Hine Documentary Fellows program and to see Rebecca Herman’s videos Northbound and Heroinas
y http://cds.aas.duke.edu/hine/herman.html
Mike Seeger Remembered When Mike Seeger died on August 7, 2009, we lost a remarkable musician, an indefatigable documentarian, and a fine soul. What Mike Seeger gave us is hard to measure—from his own recordings, beginning with his albums with the New Lost City Ramblers, to his documentary field recordings, which number beyond an easy count.
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TOP: Two students look at work on display in the Literacy Through Photography exhibition in Arusha, Tanzania, 2009. Photograph by Elena Rue. BOTTOM: Mike Seeger at the Center for Documentary Studies, March 16, 2009. Photograph by Nick Pironio.
Judges: Vince Aletti, Darius Himes, Julie Saul, Alec Soth, Hank Willis Thomas, Jamie Wellford, with Taj Forer and Michael Itkoff, editors, Daylight Magazine, and Alexa Dilworth, publishing director, and Courtney Reid-Eaton, exhibitions director, Center for Documentary Studies In recognition of mutual interests in documentary and fine art photography, Daylight Magazine and the Center for Documentary Studies at Duke University have started an international competition, the Daylight/CDS Photo Awards, to honor and promote talented and committed photographers, both emerging and established. Two awards, a Project Prize and a Work-inProcess Prize. Submissions accepted from March 15 to May 15, 2010.
y http://cds.aas.duke.edu/daylightcds
CDS/Honickman First Book Prize in Photography Judge: William Eggleston The Center for Documentary Studies (CDS) at Duke University and The Honickman Foundation (THF), based in Philadelphia, co-sponsor this prestigious biennial prize for American photographers. The only prize of its kind, the CDS/Honickman First Book Prize competition is open to American photographers of any age who have never published a book-length work and who use their cameras for creative exploration, whether it be of places, people, or communities; of the natural or social world; of beauty at large or the lack of it; of objective or subjective realities. The prize honors work that is visually compelling, that bears witness, and that has integrity of purpose. Submissions accepted from June 15 to September 8, 2010.
y http://cds.aas.duke.edu/bp
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 on-line donation at http://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 Communications, Center for Documentary Studies at Duke University: 919-660-3663 or docstudies@duke.edu
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February 5, 7 p.m. SF JAZZ Members Listening Party
With Sam Stephenson, author of The Jazz Loft Project War Memorial Veterans Building, San Francisco, California
February 8, 6 – 8 p.m. Information Session
On the Certificate in Documentary Arts program at CDS CDS Library
February 17– May 22 Jazz Loft Project Exhibition
New York Public Library for the Performing Arts at Lincoln Center
February 17, 5 p.m. Photography Talk Ernesto Bazan: Cuba CDS Auditorium
February 18, 10 a.m. – 4 p.m. Photography Workshop Portfolio critiques by Ernesto Bazan Room 001, CDS
CDS Auditorium
PAID
Kreps and Lyndhurst Galleries, CDS
“A Measure of Remorse”—Duke professors Fred Moten and Nayoung Aimee Kwon with video artist Hong-An Truong
Nonprofit Organization U.S. Postage
Durham, North Carolina Permit Number 60
Olive Branch and Reciprocity— Photographs and handmade cameras by Cedric Chatterley (through May 21, 2010)
February 18, 6 – 8 p.m. Panel Discussion
CDS
January 28, 6 – 9 p.m. Exhibit Opening and Reception
Sanford School of Public Policy
The Center for
Griffith Film Theater, Bryan Center
Something More Out of Life Photographs by Gretchen Ferber, Hine Fellow
at Duke University
Tongzhi in Love—Presented by the Kenan Institute for Ethics and Screen/Society with the AMI Program and the Center for Documentary Studies
February 18, 5:30 p.m. Exhibit Opening and Reception
Documentary StuDieS
Durham, NC 27705
All events are on the Duke University campus unless otherwise noted. Please check the CDS calendar on the web for updates to this events listing January 19, 7 p.m. Ethics Film Series
1317 West Pettigrew Street
DOCUMENT a Publication of the Center for Documentary Studies at Duke University
Calendar
Winter/spring 2010
y http://cds.aas.duke.edu/events/index.html
March 5, 7 p.m. Documentary Narrative Speaker Series: Roger Hodge & Rosecrans Baldwin
March 26, 7 p.m. Southern Circuit Film Screening God’s Architects, with director Zack Godshall
The editor of Harper’s magazine and the founder of The Morning News on longform documentary narrative and reportage in the digital age
CDS Auditorium
March 6, 7:30 p.m. Book Launch and Signing
Royall Room, George Watts Hill Alumni Center, UNC–Chapel Hill
CDS Auditorium
March 30, 4 p.m. 2010 Hutchins Lecture
“Near the Cross: Photographs of the Sacred South”—Tom Rankin, CDS Director
Debut of the new CDS book Reality Radio: Telling True Stories in Sound, with contributors Ira Glass, the Kitchen Sisters, and Joe Richman at the Third Coast Filmless Festival
April 2, 7– 8:30 p.m. The Making of the Jazz Loft Project
CDS Auditorium
Museum of Contemporary Art Chicago
February 23, 7 p.m. Ethics Film Series
March 19, 7 p.m. Documentary Narrative Speaker Series: Wells Tower
Flyleaf Books, Chapel Hill, North Carolina
February 19, 7 p.m. Southern Circuit Film Screening TRIMPIN: The Sound of Invention, with director Peter Esmonde
The Yes Men Fix the World—Presented by the Kenan Institute for Ethics and Screen/Society with the AMI Program and the Center for Documentary Studies
Celebrated short story author and magazine journalist on documentary influences and working across genres
Griffith Film Theater, Bryan Center
CDS Auditorium
February 24, 5 – 6 p.m. Exhibition Reception
March 23, 7 p.m. Ethics Film Series
Still Point of the Turning World— Photographs by CDS instructor Frank Hunter Allen Building, Second Floor Gallery
March 3-4 “Health, Social Justice, and the Civil Rights Movement in American Medicine”—Featuring historian John Dittmer, author of Good Doctors Lunch Panel, March 3, 12–1 p.m. (Part of Wednesdays at the Franklin Center Seminar Series) Panel Discussion, March 4, 5:30–7 p.m. John Hope Franklin Center
Dhamma Brothers—Presented by the Kenan Institute for Ethics and Screen/ Society with the AMI Program and the Center for Documentary Studies Griffith Film Theater, Bryan Center
March 24, 5:30 p.m. Documentary Narrative Speaker Series/Crown Lecture in Ethics: Rebecca Skloot
Author of the newly released The Immortal Life of Henrietta Lacks, a tenyear project blending history, biography, journalism, and personal documentary Sanford School of Public Policy
Multimedia presentation by Sam Stephenson, director of the Jazz Loft Project at CDS
April 8 –11 Full Frame Documentary Film Festival
Downtown Durham (more information: www.fullframefest.org)
April 13, 7:15 p.m. Mike Wiley Performance
Award-winning actor and CDS visiting professor in one of his signature plays about race in America Venue TBD
April 13, 7 p.m. Ethics Film Series
The Mosque in Morgantown—Presented by the Kenan Institute for Ethics and Screen/Society with the AMI Program and the Center for Documentary Studies Griffith Film Theater, Bryan Center
April 16, 7 p.m. Southern Circuit Film Screening
Between Floors, with director Jen White CDS Auditorium