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SOLO: The Lone Arrangers Quarterly Newsletter

Category: Metadata

Informal Survey: How Does Your Institution Publicize Unprocessed Collections?

March 6, 2017March 6, 2017 lonearrangers10 Comments

Ashley Levine
Archivist/Digital Resource Manager
Artifex Press
Editor, SOLO
alevine@artifexpress.com

Dear Lone Arrangers,

I follow our section’s listserv pretty religiously, and can attest to the fecundity and variety of the ongoing conversations (just take a look, for example, of our summary of Meg Miner’s post about policy language for access and reuse of analog materials in the archives in the current issue!). That being said, I also spy on a few other section lists, and in early January, read an excellent post on the Manuscript Repositories Section Discussion List by Jane Gorjevsky, the Digital Assets Archivist at the Rare Book and Manuscript Library at Columbia University. Jane offered this thought provoking problem regarding unprocessed collections:

“I am trying to compare the policies of different archives and manuscript repositories on exposing their collections that have not been processed (even minimally).

I am specifically interested whether your repository

a) creates public basic collection-level records upon accession

b) publishes a list of unprocessed collections on their websites

c) provides publicly accessible information about their existing unprocessed collections in any other way (please specify).”

Jane received 15 replies in total, from 11 institutions of higher education, 2 State archives, and 2 Public Libraries respectively. Jane found that the overwhelming majority (11 out of 13) of the respondents provides (or intends to provide in the nearest future) publicly accessible information online via (a) their OPAC or (b) their website. This number includes all institutions of higher education with only one exception; in the latter case the respondent indicated that they are planning to make their unprocessed collections more visible to researchers. Jane concluded that, in general, there exists a great popularity of the “accessioning-as-processing” approach and allowing access to unprocessed collections, whenever it is practical and legally permitted.

This got me wondering: How similarly are us Lone Arrangers doing things? Do we face unique challenges with providing access to unprocessed materials?

So, with Jane’s blessing, I would like to pose these same questions to the Lone Arranger community.  I believe the encompassing issues affect archivists in a diversity of settings, and are especially salient for those of us working alone, or in very small staff situations.

Please reply to this post in the comments section, as to whether your institution employs any of the following approaches to exposing unprocessed materials:

a) creates public basic collection-level records upon accession

b) publishes a list of unprocessed collections on their websites

c) provides publicly accessible information about their existing unprocessed collections in any other way (please specify).

Further, I would encourage respondents to this informal survey to highlight challenges unprocessed collections pose for lone arrangers specifically. Is it harder to respond to research interest in unprocessed collections with limited staff? Does your institution employ MPLP or another approach for on-demand access to unprocessed collections? Do researchers typically appreciate having access to unorganized materials? Has your institution pursued funding for processing specific closed or backlogged collections? Please comment below!

Posted in Academic Archives, Metadata, Preservation, Records ManagementTagged backlog, MPLP, public access, unprocessed collections

Going Solo at the Public Design Commission

March 6, 2017March 6, 2017 lonearrangers1 Comment

Julianna Monjeau
Archivist & Records Manager
Public Design Commission of the City of New York
JMonjeau@cityhall.nyc.gov

As a “lone arranger,” I’m hesitant to provide tips and tricks for other lone arrangers. As we know, we each face challenges as varied and unique as our own archival collections. Our collections don’t always follow the rules and we aren’t always able to follow professional “best practices” due to staffing or budget concerns. In my case, I was lucky to take up the reigns in an archive that didn’t require a systematic structural or organizational overhaul. Moreover, I was lucky to join an agency that values its archival collection and recognizes its unique historical picture of how the public landscape of New York City has evolved over time.

The Public Design Commission was established as the Municipal Art Commission by the New York City Charter in 1898. The Commission was tasked with the oversight of all public artworks and monuments, but its scope quickly expanded to include public structures and open spaces. In 2008, the agency was renamed the Public Design Commission to better reflect its mission. The Commission reviews permanent works of architecture, landscape architecture, and art proposed on or over City-owned property. The Commission comprises 11 members and includes an architect, landscape architect, painter, sculptor, and three lay members, as well as representatives of the Brooklyn Museum, Metropolitan Museum of Art, New York Public Library, and the Mayor. The Commission also acts as caretaker and curator of the City’s public art collection, which is located throughout the city’s public buildings and open spaces. The Design Commission is a decidedly small city agency, with only 6 full time staff members.

The Commission maintains an extensive archive of projects reviewed by the Commission since 1902, documenting more than 7,000 sites throughout New York City and including tens of thousands of individual project records. The archive contains approximately 2,100 linear feet of records and continues to grow by approximately 1-2 linear feet per month, and contains original documents, drawings, photographs, and architectural plans. The archive informs the Commission’s review of current projects and provides a valuable resource to researchers. In addition, the archive holds special collections that were acquired as reference material by Commission members and staff over our 119 year history.

Manhattan Bridge
Manhattan Bridge, architect Henry F. Hornbostel, series 63, exhibit G, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.
Manhattan Bridge
Manhattan Bridge, architect Henry F. Hornbostel, series 63, certificate, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.

Though functioning without an archivist for 115 years, the Commission staff thankfully took great care to preserve a common sense filing system and preserve the records as best they could. In fact, the filing system used today dates back to 1902. Unlike many archives, this archive is very much alive. Everything submitted to and approved by the Commission is considered an active and permanent record. Our record series, which we define as a single location (for example: a building, park or public artwork) continue to grow as new projects are proposed and approved at new and existing sites. Each location is assigned a series number. Each document that was reviewed and approved by the Commission for a public project is assigned a letter. Aside from oversized bound or rolled architectural drawings, everything can be logically located by its series number. The downside of this system is that the collection physically expands from within, requiring periodic shifting of boxes to create room to grow.

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Installation of security measures for Manhattan Bridge in Manhattan and Brooklyn, engineer Weidlinger Associates Inc., series 63, exhibit HD, approved August 22, 2016. Collection of the Public Design Commission of the City of New York.

Public Design Commission records are legal public documents and are available by appointment to the public upon request on a first-come, first-served basis. I usually handle approximately 2 research requests per week either remotely or by appointment in the archive. The archive handles research requests from three distinct groups: staff, city agencies, and the public. Approximately 80-100 project records are requested by staff each month as reference material for new city projects. City agency staff also reviews our records for the same purpose, often filling in gaps in their own recordkeeping. Lastly, our archive supports research by outside architects, artists and designers, students, historians, and citizens interested in public projects.

The Design Commission hired its first archivist (yours truly) in 2013 to oversee and maintain archival records and provide research services for staff, other city agencies, and the public. Being the first archivist at an institution can be overwhelming, but thankfully I was brought into an agency that historically loved and maintained their archive. Therefore, from the outset, I was able to focus on promoting, preserving, and making the archive more inviting to researchers, instead of reinventing the file system wheel. In 2013, the Commission launched a long-term preservation project to digitize the oldest and most fragile materials in the collection, increasing staff and public access to these historic documents while preserving the originals. As of 2017, we have digitized over 16,000 individual documents with the help of staff, interns and two digitization grants awarded by the New York State Archives in 2014 and 2016. These records are available to the public upon request and are periodically posted on our Flickr, Tumblr, and Twitter pages. All digitized material is linked to our database and available remotely to staff. This digitization project has significantly reduced the handling of our oldest records which are still actively reviewed by staff.

00524_00b_fr
Waste receptacles in Richmond Borough, designed by the Superintendent of Street Cleaning, series 524, exhibit B, approved November 15, 1910. Collection of the Public Design Commission of the City of New York.

The digitization project easily lent itself to promoting the archive and inviting researchers to use our records. By improving our public face on the Design Commission website and on social media, we created a more open and user friendly environment. In 2013 we received only 34 research requests, but by 2016 we received 87 research requests.

Completed murals in the recreation room, House of Detention for Women, Greenwich Avenue and 10th Street, Manhattan
Mural in the recreation room of the House of Detention for Women at Greenwich Avenue and 10th Street in Manhattan, artist Lucienne Bloch, series 1498, exhibit AC, approved February 11, 1936. Collection of the Public Design Commission of the City of New York.

I continue to look for ways to promote the archive, including providing after hours tours. We’ve recently added a public portal for archive tours every other month and hope to expand to offer tours for city students. As a lone arranger, I hope to continue finding ways to highlight and disseminate the Commission’s singular holdings, a goal I imagine many of us share for our own unique materials.

Posted in Digital Preservation, Digitization, Metadata, Photography, Preservation, Public Archives, Visual ResourcesTagged architecture, art, design, design history, New York City, visual art

The Challenges of Archiving and Making Available Born-Digital Catalogues Raisonnés

December 15, 2016December 14, 2016 lonearrangersLeave a comment

Ashley Levine
Archivist/Digital Resource Manager
Artifex Press
alevine@artifexpress.com

I am a lone archivist/digital resource manager at Artifex Press, an New York City-based company dedicated to publishing digital catalogues raisonnés. I work with digital and analogue artwork photography, as well as a growing collection of digital audiovisual materials, and am in charge of administering a digital asset management system (DAMS), Extensis Portfolio, embedding metadata in digital photos, as well as digitizing, editing, and color correcting physical film photography, using a Microtek flatbed scanner and Adobe Photoshop/Bridge. Our digital assets encompass the intellectual property of artists, photographers, galleries, museums, etc., so I am also the copyright point person. Furthermore, I’m the de facto IT lead, so I also manage the company file server, and back up all server data to Fuji LTO tapes (daily and monthly). I work on multiple photography digitization projects simultaneously, correlating to our several published and unpublished digital catalogues raisonnés, including Chuck Close: Paintings, 1967-Present; Jim Dine: Sculpture, 1983-Present; and Tim Hawkinson. Our published catalogues can be accessed for a free, limited time subscription via the Artifex website, which is the public facing, final product.

A Catalogue Raisonné?

A catalogue raisonné is the definitive, comprehensive, and annotated compilation of all the known works of art of an artist. Catalogues Raisonnés are critical tools for researching the provenance, attribution, and exhibition and literature histories of an artist’s body of work. The information in a catalogue raisonné is constantly in flux, and conventional printed catalogues cannot achieve both completeness and accuracy. Digital catalogues raisonnés afford instantaneous editing and modification, and thus are more accurate and up-to-date than their traditional counterparts.

Faithful visual representation of artworks is crucial to maintain this accuracy, and to the overall production of a digital catalogue raisonné. In the process of creating its digital catalogues, Artifex provides access to visual resources associated with an artist’s body of work by centralizing artwork photography from disparate sources in individual artwork records. Therefore, Artifex effectively manages the intellectual property of various artists, museums, galleries, and photographers. Cataloging visual materials for the catalogue raisonné creates a number of challenges for description, including discerning the layered intellectual property rights (i.e. copyright) inherent in artwork photography.

Metadata Driven

Metadata is a set of data that describes and gives information about other data. Embedded photo metadata stays within an image file, and allows this information to be transferred with the image in a way that can be understood by other software and hardware.

Embedding metadata in digital visual materials as they are acquired, ensures:

  1. The correct copyright holders are credited, and that this info is retained in the files themselves
    • Embedded metadata minimizes the need for multiple spreadsheets/documents to fathom what an asset is, and who the copyright holders are
    • embedded metadata centralizes this crucial info
  2. Artifex staff can locate materials after ongoing use has ceased
    • Metadata is harnessed by a searchable digital asset management system
    • Less need to rely solely on file names for retrieval
  3.  Robust descriptive information is captured and retained for future projects

Artifex Press uses the IPTC Core metadata standard to describe and catalogue digital visual resources, due to its universal acceptance among a number of industries, including news agencies, photographers, libraries, and museums. The IPTC Core standard provides structured metadata fields that enable archivists to embed accurate data about images in the files themselves.  This systematizes the way information is stored and transferred between images and institutions.

At Artifex, I item level catalogue born digital visual materials to facilitate better searchability via our DAMS, Extensis Portfolio. I simultaneously utilize a hybrid item/collection level cataloging approach for our multifaceted analogue collections, and I discuss both methods below.

Chuck Close: Item-Level Cataloging

close_2015_inst_composite
Figure 1: Installation photos from Chuck Close: Red Yellow Blue, Pace Gallery, 534 West 25th Street, New York, September 11-October 17, 2015. © Chuck Close. Photos by Kerry Ryan McFate, courtesy Pace Gallery

I often receive born digital photos from various institutions with little-to-no metadata embedded. For example, the visual artist Chuck Close exhibited his new paintings at Pace Gallery in New York, in the Fall of 2015. I received the above photos (Figure 1) from Pace, but with very little info embedded, save for a time stamp and camera make/model (Figure 2). Fortunately, I was able to utilize Adobe Bridge’s metadata templates to batch apply metadata values that all photos in this particular group have in common, such as creator, pictured exhibition, title, credit line, copyright info, city, state, and country. In this instance, I created and employed the metadata template I’ve called “Chuck Close Pace Install” which instantly fills the IPTC Core fields with general values I’ve set, allowing me to quickly embed data all images have in common (See Figures 3 and 4). So, in a few key strokes I’ve ensured the intellectual control of a batch of born digital files, which otherwise had very little embedded info originally. With time permitting, I was able to embed artwork/photo specific metadata in individual photos in this batch, to augment the number of search results for specific works via our DAMS (Figures 5 and 6). For larger accessions of digital images, applying a metadata template will preserve at least a modicum of common descriptive info at accession, to allow for more granular cataloging down the road.

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Figure 2: Adobe Bridge Metadata panel reveals very limited embedded data, save for the timestamp and camera make/model
vmcar-30a
Figure 2: Adobe Bridge Metadata panel reveals very limited embedded data, save for the timestamp and camera make/model

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Figure 4: Batch entering shared metadata for this group of installation images
vmcar-34
Figure 5: With time permitting, I embedded artwork specific metadata in individual photos in this batch
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Figure 6: Embedded metadata is harnessed by a searchable DAMS (Extensis Portfolio), enabling Artifex staff to generate multiple search results associated with an artwork, artist, exhibition, etc.

Sol LeWitt Studio Collection: A Hybrid Approach

In contrast I‘ve described our multifaceted analog collections at the collection level, as item level cataloging for these materials would prove too time consuming. Often I am digitizing photography from our analog collections – and primarily the Sol LeWitt Studio Collection – and then creating item–level metadata of these materials at the time of digitization. 

Sol LeWitt, a progenitor of the Conceptual Art movement, created a numerical series of ephemeral works he called Wall Drawings, and Artifex Press is conducting ongoing research towards the compilation of the LeWitt Wall Drawing catalogue raisonné. The LeWitt Studio Collection contains similarly number boxes of photos related to his Wall Drawings, from which the LeWitt team draws for research. I‘ve created a traditional archival finding aid for the LeWitt Studio Collection, which provides a general (collection level) description to ensure a minimum amount of intellectual control of the enclosed materials.

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Figure 7: Sol LeWitt installing Wall Drawing #292 at Fine Arts Gallery, University of Colorado, Boulder, September 1976. © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo © CU Art Museum, University of Colorado Bourlder

 

Digitization Workflow

I devised a digitization workflow with the Sol LeWitt research team that combines digitization and research priorities:

  1. The LeWitt research team conducts continuous research on LeWitt’s Wall Drawings, using the Studio Collection (I have the benefit of content experts supplying reliable metadata).
  2. The LeWitt team selects (prioritizes) materials from the Studio Collection to digitize for publication
  3. The LeWitt team simultaneously discerns the copyright holders (i.e. The Estate of Sol LeWitt and the contributing institution) of selected materials
  4. I employ a Microtek flatbed film/transparency scanner to digitize the selected Wall Drawing photography, creating an unprocessed master TIFF file.
  5. After digitization, I embed item-level IPTC Core metadata in the unprocessed TIFF file.
  6. I create a copy of, and color correct and touch-up the unprocessed image, and file a second, processed master TIFF file.
vmcar-44
Figure 8: Wall Drawing #795 at Fraenkel Gallery, San Francisco, 1998. Photo by Ian Reeves, courtesy, Fraenkel Gallery. Unprocessed image (left) vs. Processed image (right).

 

Artifex retains two master TIFF files for digitized visual materials, in case originals need to be consulted. Processed images are copies of raw scans (which retain the embedded metadata), with color correction and editing executed in Adobe Photoshop. Artifex Press attempts to represent accurate color of depicted artworks, to further enrich the digital catalogue raisonné.

I owe a huge debt of gratitude to the online Lone Arranger community for helping me fathom some of the above solutions over the last couple years. I hope my account of Artifex’s digital workflow can similarly assist other Lone Arrangers in their necessarily challenging and multifaceted  roles.

lart_slide
Slide for: Preserving in Digital Formats: Challenges and Solution in Small Archives, SAA Annual Meeting, Atlanta, Georgia, August 3, 2016
Posted in Digital Asset Management, Digital Preservation, Metadata, Photography, Visual ResourcesTagged adobe bridge, adobe photoshop, contemporary art, Digital, Digital Asset Management, Digital Preservation, Digital Workflows, embedded metatdata, Metadata, Photography, visual art, Visual Resources

Workflows of Archiving the Digital Records of the Marist Fathers and Brothers

December 15, 2016December 14, 2016 lonearrangers1 Comment

Elizabeth Charlton
Province Archivist
Society of Mary (Marist Fathers and Brothers) in New Zealand
elizabeth@maristarchives.org.nz

As we know context is everything so here’s mine-

  • The New Zealand Province of the Society of Mary – Marist Fathers and Brothers brought Roman Catholicism to NZ in 1838. The New Zealand Archives have been in existence since 1960s, with a professional archivist employed since 2005. We are an in-house archives which cares for the records that document the congregation’s temporal and spiritual affairs as well as collecting the papers of members. The archives is open to external researchers of any religious belief.
  • The Archives’ operational budget (excluding capital expenditure and my salary) is approximately $15,000US/year.
  • In 2015 there was a reduction in staffing from 3 to 1 part-time archivist. I have a sole charge position reporting to a committee of a Provincial Council representative and an outside consultant.

To date the Archives has been a paper-based operation. Former staff members viewed born-digital material as artefacts – since we have the carrier, we have the material. The earliest born-digital was transferred onto floppies in 2001.

In fact the impetus for me to take action was to see a naked hard drive arrive, be put on a shelf and then be told, “You can deal with it in 10 years”! Receiving born-digital material this way is a growth area with an ever-aging congregation – in 2013 there was one naked drive, now there are 5! I received a scholarship in 2014 from the Ian McLean Wards Memorial Trust to work out how to start managing this.

Specific born-digital files entering the Archives as opposed to whole drives are photos, radio broadcasts and documents.

At DigCCurr Professional Institute, Nancy McGovern posed the question “What is good enough in your situation?” So my focus has been to keep my processes simple and manageable. As far as the born-digital sphere goes, I’m setting everything up.

My workflows may appear very simple and basic, but I have demonstrated that it is possible for very small institutions to take charge of their born-digital material.

Infrastructure

Before taking action, I needed to check that my storage was adequate. For what I have processed to date, yes. The server is replicated to a separate geographic location. We also back up to an external hard drive.

Digital acquisitions are kept in a separate folder on the network and a spreadsheet holds the metadata.

Digital forensics equipment

To follow the principle in digital preservation of not to create any irreversible changes to the data, I use write-blockers.

A write blocker is a mechanism that does not allow anything to be written to the media. There are software and hardware write blockers. I use hardware ones – for hard drives I have a Wiebetech Forensic Ultradock v5 and for USBs a Wiebetech inline USB write blocker.

To work with born-digital material on a carrier, I use an off-network laptop, loaded with the open-source tools introduced at the SAA Digital Forensics: Advanced course. The two programs used in particular are FTK Imager and BitCurator. Another useful tool is Droid from The National Archives (UK). In addition to the write blockers, I also use a USB floppy drive and an external 2TB hard drive. This equipment set-up cost approximately $1500US. Setting up a desktop as a processing station would bring the cost down.

The workflows

The Archives has a very narrow collection scope and limited resources so all items need appraising.

For legacy material – digital forensic practices

To follow the principle in digital preservation of not creating any irreversible changes to the data, practices adopted from digital forensics used in e-discovery and law enforcement are applied.

  1. One practice is to create a disk image, i.e. to create an exact replica of the contents of the source medium – the data, structure and size of the original media contained in a single file. I have tried both FTK Imager and BitCurator. Each program has its own set of strengths.
  2. Make working copies.

Forensic disk images are used in the first instance to appraise contents. The rule of thumb for me is not to retain the images, just the items selected from the appraisal.

  1. Appraise by viewing in a Hex editor using the character area. I check the text content to see if it is worth looking at further. If files do not have an extension (e.g. .docx) it can be difficult for a computer to open it; using the hex editor means that I can look for a file signature that indicates the file format. I prefer using the Hex editor in FTK Imager.
  2. Generate Reports with BitCurator. These reports are used to check for personally identifiable information. A disk image is needed for this step.
  3. Extract files selected for retention from the disk image.
  4. Run an anti-virus check over selected files (I update the laptop before using it off-network).
  5. If required files are normalized, that is creating a copy in a preservation format. The original format is also retained.
  6. AVPreserve’s Exactly is used to bag and transfer the selected material to the network. This provides checksums for fixity.
  7. Record information in spreadsheet.
  8. Monitor the files for fixity by using AVPreserve’s Fixity.

When it has already been agreed that we will accept the files, there is no need to appraise as the donor has already informed us of their contents.

For modern born-digital on a physical carrier and for born-digital transferred through internet

I use a write blocker to transfer from the physical carrier or through Exactly when receiving files over the Internet. Then the same workflow as for legacy media from the virus scan is followed.

For more information, please visit the 2016 SAA Research Forum page (http://www2.archivists.org/proceedings/research-forum/2016/agenda) for my project presentation and the article, “Working with legacy media: A lone arranger’s first steps”, published in Practical Technology for Archives (https://practicaltechnologyforarchives.org/issue6_charlton/).

PowerPoint Presentation
Slide for: Preserving in Digital Formats: Challenges and Solutions in Small Archives, SAA Annual Meeting, Atlanta, Georgia, August 3, 2016
Posted in Digital Preservation, Metadata, Religious ArchivesTagged catholicism, Digital, Digital Forensics, Digital Preservation, Digital Workflows, New Zealand, Religious Archives

Table of Contents

  • About SOLO
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  • January 2018
  • March 2019: Unpaid Internships Edition
  • May 2018
  • October 2017 (HALLOWEEN EDITION)
  • October 2018
  • SOLO: Lone Arrangers Quarterly Newsletter
    • December 2016: Lone Arranger presentations from the SAA annual conference, Atlanta, Georgia, August 2016
    • June 2017
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  • Winter 2020: When The Unexpected Happens

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Photo Gallery

James Lequlla, newsboy, 12 years of age, Wilmington, Delaware, May 1910. Photo by Lewis W. Hine, courtesy Library of Congress Prints and Photographs Division, National Child Labor Committee (NCLC) Collection. http://www.loc.gov/pictures/item/ncl2004001219/PP/
James Lequlla, newsboy, 12 years of age, Wilmington, Delaware, May 1910. Photo by Lewis W. Hine, courtesy Library of Congress Prints and Photographs Division, National Child Labor Committee (NCLC) Collection. http://www.loc.gov/pictures/item/ncl2004001219/PP/
Commission signed by President James Madison appointing Dr. William Beaumont as a surgeon in the Sixth Regiment of Infantry in the US Army on December 2, 1812. Personal Collection #12, William Beaumont Papers, Bernard Becker Medical Library Archives, Washington University School of Medicine.
Commission signed by President James Madison appointing Dr. William Beaumont as a surgeon in the Sixth Regiment of Infantry in the US Army on December 2, 1812. Personal Collection #12, William Beaumont Papers, Bernard Becker Medical Library Archives, Washington University School of Medicine.
First snow of the season in the foothills of the Little Belt Mountains, Lewis and Clark National Forest, Meagher County, Montana, August 1942. Photo by Russell Lee, (FSA)/Office of War Information (OWI), courtesy Library of Congress Prints and Photographs Division Washington, D.C., Farm Security Administration/Office of War Information Color Photographs Collection. http://www.loc.gov/pictures/item/fsa1992001481/PP/
First snow of the season in the foothills of the Little Belt Mountains, Lewis and Clark National Forest, Meagher County, Montana, August 1942. Photo by Russell Lee, (FSA)/Office of War Information (OWI), courtesy Library of Congress Prints and Photographs Division Washington, D.C., Farm Security Administration/Office of War Information Color Photographs Collection. http://www.loc.gov/pictures/item/fsa1992001481/PP/
Anna Kelton Wiley, founder of The National Woman's Party telephones Doris Stevens, chairman of the InterAmerican Commission of Women at the Haugue, to ascertain whether the World Code now being drawn up by the Codification Conference of International Law will be based on sex discrimination, April 3, 1930. In the photograph, left to right: Anita Pollitzer of South Carolina; Anna Kelton Wiley; Alice Paul; and Elsie Hill of Connecticut. Photo by Harris and Ewing, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/hec2013005824/
Anna Kelton Wiley, founder of The National Woman’s Party telephones Doris Stevens, chairman of the InterAmerican Commission of Women at the Haugue, to ascertain whether the World Code now being drawn up by the Codification Conference of International Law will be based on sex discrimination, April 3, 1930. In the photograph, left to right: Anita Pollitzer of South Carolina; Anna Kelton Wiley; Alice Paul; and Elsie Hill of Connecticut. Photo by Harris and Ewing, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/hec2013005824/
National Archives, Division of Commerce Department Archives, Washington, D.C., Novmber 22, 1939. Photo by Harris and Ewing, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/hec2009014404/
National Archives, Division of Commerce Department Archives, Washington, D.C., Novmber 22, 1939. Photo by Harris and Ewing, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/hec2009014404/
Installation photos from Chuck Close: Red Yellow Blue, Pace Gallery, 534 West 25th Street, New York, September 11-October 17, 2015. © Chuck Close. Photos by Kerry Ryan McFate, courtesy Pace Gallery
Installation photos from Chuck Close: Red Yellow Blue, Pace Gallery, 534 West 25th Street, New York, September 11-October 17, 2015. © Chuck Close. Photos by Kerry Ryan McFate, courtesy Pace Gallery
Sol LeWitt installing Wall Drawing #292 at Fine Arts Gallery, University of Colorado, Boulder, September 1976. © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo © CU Art Museum, University of Colorado Bourlder
Sol LeWitt installing Wall Drawing #292 at Fine Arts Gallery, University of Colorado, Boulder, September 1976. © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo © CU Art Museum, University of Colorado Bourlder
Wall Drawing #795 at Fraenkel Gallery, San Francisco, 1998. Photo by Ian Reeves, courtesy, Fraenkel Gallery. Unprocessed image (left) vs. Processed image (right).
Wall Drawing #795 at Fraenkel Gallery, San Francisco, 1998. Photo by Ian Reeves, courtesy, Fraenkel Gallery. Unprocessed image (left) vs. Processed image (right).
Mural in the recreation room of the House of Detention for Women at Greenwich Avenue and 10th Street in Manhattan, artist Lucienne Bloch, series 1498, exhibit AC, approved February 11, 1936. Collection of the Public Design Commission of the City of New York.
Mural in the recreation room of the House of Detention for Women at Greenwich Avenue and 10th Street in Manhattan, artist Lucienne Bloch, series 1498, exhibit AC, approved February 11, 1936. Collection of the Public Design Commission of the City of New York.
Manhattan Bridge, architect Henry F. Hornbostel, series 63, certificate, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.
Manhattan Bridge, architect Henry F. Hornbostel, series 63, certificate, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.
Waste receptacles in Richmond Borough, designed by the Superintendent of Street Cleaning, series 524, exhibit B, approved November 15, 1910. Collection of the Public Design Commission of the City of New York.
Waste receptacles in Richmond Borough, designed by the Superintendent of Street Cleaning, series 524, exhibit B, approved November 15, 1910. Collection of the Public Design Commission of the City of New York.
Installation of security measures for Manhattan Bridge in Manhattan and Brooklyn, engineer Weidlinger Associates Inc., series 63, exhibit HD, approved August 22, 2016. Collection of the Public Design Commission of the City of New York.
Installation of security measures for Manhattan Bridge in Manhattan and Brooklyn, engineer Weidlinger Associates Inc., series 63, exhibit HD, approved August 22, 2016. Collection of the Public Design Commission of the City of New York.
Manhattan Bridge, architect Henry F. Hornbostel, series 63, exhibit G, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.
Manhattan Bridge, architect Henry F. Hornbostel, series 63, exhibit G, approved and disapproved in part March 10, 1903. Collection of the Public Design Commission of the City of New York.
Design and locations of two lions at the Fifth Avenue entrance to the New York Public Library in Manhattan, sculptor E.C. Potter, photographer A.E. Sproul, series 208, exhibit AZ, approved October 11, 1910. Collection of the Public Design Commission of the City of New York. Photographic print, 9.5 x 7.5 in.
Design and locations of two lions at the Fifth Avenue entrance to the New York Public Library in Manhattan, sculptor E.C. Potter, photographer A.E. Sproul, series 208, exhibit AZ, approved October 11, 1910. Collection of the Public Design Commission of the City of New York. Photographic print, 9.5 x 7.5 in.
Moreno Valley, Colfax County, New Mexico, spring 1943 Photo by John Collier, courtesy Library of Congress Prints and Photographs Division Washington, D.C., Farm Security Administration/Office of War Information Color Photographs Collection http://www.loc.gov/pictures/collection/fsac/item/fsa1992001380/PP/
Moreno Valley, Colfax County, New Mexico, spring 1943 Photo by John Collier, courtesy Library of Congress Prints and Photographs Division Washington, D.C., Farm Security Administration/Office of War Information Color Photographs Collection http://www.loc.gov/pictures/collection/fsac/item/fsa1992001380/PP/
Woman with headphones listening to radio broadcast between ca. 1920 and ca. 1930 Photo by Underwood & Underwood, courtesy Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2012649424/
Woman with headphones listening to radio broadcast between ca. 1920 and ca. 1930 Photo by Underwood & Underwood, courtesy Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2012649424/
Crowded stacks, 1970. Photograph shows an African American employee of the Library of Congress among crowded book shelves with another employee. Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2017646178/
Crowded stacks, 1970. Photograph shows an African American employee of the Library of Congress among crowded book shelves with another employee. Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2017646178/
Arriving at Ellis Island, 1907 Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/97519082/
Arriving at Ellis Island, 1907 Photo courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/97519082/
A cross roads store, bar, "juke joint," and gas station in the cotton plantation area, Melrose, La., June 1940.
A cross roads store, bar, “juke joint,” and gas station in the cotton plantation area, Melrose, La., June 1940.
Hawthorne Bridge, Spanning Willamette River at Hawthorne Boulevard & Madison Street, Portland, Multnomah County, OR. Historic American Engineering Record, Creator, Waddell & Harrington, Pennsylvania Steel Company, United Engineering & Construction Company, Robert Wakefield & Company, City Of Portland, and Judith A McGaw, Norman, James, and Leslie Schwab, photographer. Retrieved from the Library of Congress, https://www.loc.gov/item/or0290/. (Accessed June 06, 2017.)
Hawthorne Bridge, Spanning Willamette River at Hawthorne Boulevard & Madison Street, Portland, Multnomah County, OR. Historic American Engineering Record, Creator, Waddell & Harrington, Pennsylvania Steel Company, United Engineering & Construction Company, Robert Wakefield & Company, City Of Portland, and Judith A McGaw, Norman, James, and Leslie Schwab, photographer. Retrieved from the Library of Congress, https://www.loc.gov/item/or0290/. (Accessed June 06, 2017.)
Connecticut College for Women, New London, Connecticut. Palmer library, carrels in stack room. Photo by Gottscho-Schleisner, Inc., courtesy ibrary of Congress Prints and Photographs Division Washington. Retrieved from the Library of Congress, https://www.loc.gov/item/gsc1994021290/PP/. (Accessed June 06, 2017.).
Connecticut College for Women, New London, Connecticut. Palmer library, carrels in stack room. Photo by Gottscho-Schleisner, Inc., courtesy ibrary of Congress Prints and Photographs Division Washington. Retrieved from the Library of Congress, https://www.loc.gov/item/gsc1994021290/PP/. (Accessed June 06, 2017.).
[Copy machine in office], 1936. Photo by Harris & Ewing, courtesy Harris & Ewing Collection, ibrary of Congress Prints and Photographs Division. Retrieved from the Library of Congress, https://www.loc.gov/item/hec2013010866/. (Accessed June 06, 2017.)
[Copy machine in office], 1936. Photo by Harris & Ewing, courtesy Harris & Ewing Collection, ibrary of Congress Prints and Photographs Division. Retrieved from the Library of Congress, https://www.loc.gov/item/hec2013010866/. (Accessed June 06, 2017.)
AFS President Arthur Howe, Jr. being greeted by AFS alumni after his arrival in Santiago, Chile in 1971. Foto Cerrillos Chile. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
AFS President Arthur Howe, Jr. being greeted by AFS alumni after his arrival in Santiago, Chile in 1971. Foto Cerrillos Chile. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. in 1943. Photograph by Loftus B. Cuddy, Jr., courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. in 1943. Photograph by Loftus B. Cuddy, Jr., courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
AFS ambulance drivers evacuating Tobruk Hospital in Libya in 1942. Photograph by Arthur Howe, Jr., courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
AFS ambulance drivers evacuating Tobruk Hospital in Libya in 1942. Photograph by Arthur Howe, Jr., courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. in Damascus, Syria in November 1965. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. in Damascus, Syria in November 1965. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. pointing to Iran on a globe during his AFS presidency in 1967. Several years later he traveled to Abbasabad, Iran to give a speech about AFS and its role in international education. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
Arthur Howe, Jr. pointing to Iran on a globe during his AFS presidency in 1967. Several years later he traveled to Abbasabad, Iran to give a speech about AFS and its role in international education. Photo courtesy of the Archives of the American Field Service and AFS Intercultural Programs.
The original teaching skeleton used in the nursing school of the local hospital, after being donated to Special Collections at the Mooresville Public Library. Photo courtesy Special Collections at the Mooresville Public Library.
The original teaching skeleton used in the nursing school of the local hospital, after being donated to Special Collections at the Mooresville Public Library. Photo courtesy Special Collections at the Mooresville Public Library.
1815 embroidery of Mt. Vernon by Frances “Fanny” Macklin Ellis Wilkinson, using human hair, post-conservation. Photo courtesy of the Khalaf Al Habtoor Archives at Illinois College.
1815 embroidery of Mt. Vernon by Frances “Fanny” Macklin Ellis Wilkinson, using human hair, post-conservation. Photo courtesy of the Khalaf Al Habtoor Archives at Illinois College.
1815 embroidery of Mt. Vernon by Frances “Fanny” Macklin Ellis Wilkinson, using human hair, pre-conservation. Photo of Jenny Barker Devine, Associate Professor of History, Illinois College.
1815 embroidery of Mt. Vernon by Frances “Fanny” Macklin Ellis Wilkinson, using human hair, pre-conservation. Photo of Jenny Barker Devine, Associate Professor of History, Illinois College.
Lobster gifted to Congressman Paul Findley from Mohammed Motie, foreign minister of South Yemen, during Findley's "Mission to Aiden," in May 1974. Photo courtesy of Elizabeth Papp, Public History Graduate Intern, Illinois College.
Lobster gifted to Congressman Paul Findley from Mohammed Motie, foreign minister of South Yemen, during Findley’s “Mission to Aiden,” in May 1974. Photo courtesy of Elizabeth Papp, Public History Graduate Intern, Illinois College.
Front view of a British Tank, ca. 1916, from Photographic History of The World's War, 1918.
Front view of a British Tank, ca. 1916, from Photographic History of The World’s War, 1918.
British tank crossing trenches, from Collier's Photographic History of The World's War, 1918.
British tank crossing trenches, from Collier’s Photographic History of The World’s War, 1918.
British "Centipede"/"Mother"/"Big Willie" tank, ca. 1916--afterwards known at the Mark I Tank, from
British “Centipede”/”Mother”/”Big Willie” tank, ca. 1916–afterwards known at the Mark I Tank, from
World War One "Splatter Mask." Photo in the Public Domain.
World War One “Splatter Mask.” Photo in the Public Domain.
British_maks_1918_Border
Center for Democracy & Technology letter to the Unites States Department of Homeland Security, regarding "A-Files." Photo courtesy the Society of American Archivists.
Center for Democracy & Technology letter to the Unites States Department of Homeland Security, regarding “A-Files.” Photo courtesy the Society of American Archivists.
Vets protest bonus bill delay, January 1931, Washington D.C. Photo by Harris & Ewing, courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/hec2013006243/
Vets protest bonus bill delay, January 1931, Washington D.C. Photo by Harris & Ewing, courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/hec2013006243/
The Librarian, U.S. Naval Academy, ca. 1890-91. Photo by Detroit Publishing Co., courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/det1994001136/PP/
The Librarian, U.S. Naval Academy, ca. 1890-91. Photo by Detroit Publishing Co., courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/det1994001136/PP/
An array of pumpkins, ready for the autumn customer rush at the Kelp's Pumpkin Patch stand near Nashville in Brown County, Indiana. Photo by Carol M. Highsmith Photography, Inc., courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/2016631899/
An array of pumpkins, ready for the autumn customer rush at the Kelp’s Pumpkin Patch stand near Nashville in Brown County, Indiana. Photo by Carol M. Highsmith Photography, Inc., courtesy Library of Congress Prints and Photographs Division: http://www.loc.gov/pictures/item/2016631899/
From Library of Congress online (https://www.loc.gov/resource/g3200.ct002354/) Colton's illustrated & embellished steel plate map of the world on Mercator's projection : compiled from the latest & most authentic sources exhibiting the recent Arctic and Antarctic discoveries & explorations Photo courtesy Library of Congress Geography and Map Division Washington, D.C. Digital ID: http://hdl.loc.gov/loc.gmd/g3200.ct002354
From Library of Congress online (https://www.loc.gov/resource/g3200.ct002354/) Colton’s illustrated & embellished steel plate map of the world on Mercator’s projection : compiled from the latest & most authentic sources exhibiting the recent Arctic and Antarctic discoveries & explorations Photo courtesy Library of Congress Geography and Map Division Washington, D.C. Digital ID: http://hdl.loc.gov/loc.gmd/g3200.ct002354
Diane Wells Archivist & Records Manager Diocese of Olympia, Seattle, WA
Diane Wells Archivist & Records Manager Diocese of Olympia, Seattle, WA
The Nguyen Family from Vietnam Olympia Churchman Photo. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
The Nguyen Family from Vietnam Olympia Churchman Photo. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Refugee Resettlement Office files. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Refugee Resettlement Office files. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Storage room at the Refugee Resettlement Office with boxes and cabinets containing stacke from floor to ceiling. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Storage room at the Refugee Resettlement Office with boxes and cabinets containing stacke from floor to ceiling. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Staples, clips and other fasteners removed from Refugee Resettlement Office files during processing. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Staples, clips and other fasteners removed from Refugee Resettlement Office files during processing. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Processed Refugee Resettlement Office files. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Processed Refugee Resettlement Office files. Photo courtesy the Archives of The Episcopal Diocese of Olympia.
Michael Aday Librarian-Archivist National Park Service Collections Preservation Center Great Smoky Mountains National Park Townsend, Tennessee.
Michael Aday Librarian-Archivist National Park Service Collections Preservation Center Great Smoky Mountains National Park Townsend, Tennessee.
Archives stacks at National Park Service Collections Preservation Center, Great Smoky Mountains National Park. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Archives stacks at National Park Service Collections Preservation Center, Great Smoky Mountains National Park. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Research room at National Park Service Collections Preservation Center, Great Smoky Mountains National Park. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Research room at National Park Service Collections Preservation Center, Great Smoky Mountains National Park. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Summons to the Sheriff of Washington County, NC from Clerk of the Court John Sevier, from 1782. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Summons to the Sheriff of Washington County, NC from Clerk of the Court John Sevier, from 1782. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Civilian Conservation Corps scrip, from 1932. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Civilian Conservation Corps scrip, from 1932. Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
William Oliver Collection being humidified and flattened (before). Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
William Oliver Collection being humidified and flattened (before). Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
William Oliver Collection being humidified and flattened (after). Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
William Oliver Collection being humidified and flattened (after). Photo courtesy National Park Service Collections Preservation Center, Great Smoky Mountains National Park.
Two Australian soldiers enjoying the snow, January 1942. Photo by Matson Photo Service, Matson (G. Eric and Edith) Photograph Collection, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/mpc2010006642/PP/
Two Australian soldiers enjoying the snow, January 1942. Photo by Matson Photo Service, Matson (G. Eric and Edith) Photograph Collection, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/mpc2010006642/PP/
Secretary with telegrams pledging over $100,000.00 to International Rescue Committee, November 8, 1956/ World Telegram & Sun photo by Ed. Ford, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/95505385/
Secretary with telegrams pledging over $100,000.00 to International Rescue Committee, November 8, 1956/ World Telegram & Sun photo by Ed. Ford, courtesy Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/95505385/
Southington, Connecticut. Stacks of the public library containing 15,000 books. Photo by Charles Fenno Jacobs, courtesy Library of Congress Prints and Photographs Division Washington, Farm Security Administration - Office of War Information photograph collection (Library of Congress): https://www.loc.gov/resource/fsa.8d34963/
Southington, Connecticut. Stacks of the public library containing 15,000 books. Photo by Charles Fenno Jacobs, courtesy Library of Congress Prints and Photographs Division Washington, Farm Security Administration – Office of War Information photograph collection (Library of Congress): https://www.loc.gov/resource/fsa.8d34963/
Brookings building at 722 Jackson Place in 1932. Photo courtesy Brookings Institution.
Brookings building at 722 Jackson Place in 1932. Photo courtesy Brookings Institution.
Brookings building at 1775 Massachusetts Avenue, 2018. Photo courtesy Brookings Institution.
Brookings building at 1775 Massachusetts Avenue, 2018. Photo courtesy Brookings Institution.
Edith Ginsberg, Allen Ginsberg (holding unknown child), unknown, Louis Ginsberg (L-R), ca. 1967. Photo courtesy of the Jewish Historical Society of New Jersey.
Edith Ginsberg, Allen Ginsberg (holding unknown child), unknown, Louis Ginsberg (L-R), ca. 1967. Photo courtesy of the Jewish Historical Society of New Jersey.
Allen Ginsberg writes to his Aunt Clara from Amsterdam. 12/31/82. Photo courtesy of the Jewish Historical Society of New Jersey
Allen Ginsberg writes to his Aunt Clara from Amsterdam. 12/31/82. Photo courtesy of the Jewish Historical Society of New Jersey
Allen’s inscription to his cousin Pat Sebold. 12/10/74. Photo courtesy of the Jewish Historical Society of New Jersey
Allen’s inscription to his cousin Pat Sebold. 12/10/74. Photo courtesy of the Jewish Historical Society of New Jersey
Allen’s inscription to Aunt Clara. 1/24/87. Photo courtesy of the Jewish Historical Society of New Jersey
Allen’s inscription to Aunt Clara. 1/24/87. Photo courtesy of the Jewish Historical Society of New Jersey
Edith Ginsberg’s letter to Clara (written as Claire). 2/28/87. Photo courtesy of the Jewish Historical Society of New Jersey
Edith Ginsberg’s letter to Clara (written as Claire). 2/28/87. Photo courtesy of the Jewish Historical Society of New Jersey
May Day Parade, New York, 1910. Photo courtesy George Grantham Bain Collection, Library of Congress Prints and Photographs Division: https://www.loc.gov/resource/cph.3a51058/
May Day Parade, New York, 1910. Photo courtesy George Grantham Bain Collection, Library of Congress Prints and Photographs Division: https://www.loc.gov/resource/cph.3a51058/
Typing class at the San Diego Vocational School, June 1941. Photo by Lee Russell, courtesy U.S. Farm Security Administration/Office of War Information/Office of Emergency Management/Resettlement Administration Black & White Photographs, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/2017789625/
Typing class at the San Diego Vocational School, June 1941. Photo by Lee Russell, courtesy U.S. Farm Security Administration/Office of War Information/Office of Emergency Management/Resettlement Administration Black & White Photographs, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/2017789625/
Halloween party at Shafter migrant camp, California, November 1938. Photo by Dorothea Lange, courtesy U.S. Farm Security Administration/Office of War Information/Office of Emergency Management/Resettlement Administration Black & White Photographs, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/2017770943/
Halloween party at Shafter migrant camp, California, November 1938. Photo by Dorothea Lange, courtesy U.S. Farm Security Administration/Office of War Information/Office of Emergency Management/Resettlement Administration Black & White Photographs, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/item/2017770943/
Labor Relations Board, ca. 1937. Photo by Harris & Ewing, courtesy Harris & Ewing photograph collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/hec.22806/
Labor Relations Board, ca. 1937. Photo by Harris & Ewing, courtesy Harris & Ewing photograph collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/hec.22806/
"Labor," ca. 1912-1930. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.27767/
“Labor,” ca. 1912-1930. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.27767/
Am. Fed. Labor, ca. 1921-1922. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.29804/
Am. Fed. Labor, ca. 1921-1922. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.29804/
Woman on float of the Women's Auxilliary Typographical Union, Labor Day parade, New York, New York, September 6, 1909. Photo courtesy George Grantham Bain Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/ppmsc.00154/
Woman on float of the Women’s Auxilliary Typographical Union, Labor Day parade, New York, New York, September 6, 1909. Photo courtesy George Grantham Bain Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/ppmsc.00154/
Am. Fed. of Labor, December 12, 1923. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2016836374/
Am. Fed. of Labor, December 12, 1923. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/item/2016836374/
Am. Fed. Labor Char Women's Committee, ca. 1919-1920. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.28680/
Am. Fed. Labor Char Women’s Committee, ca. 1919-1920. Photo courtesy National Photo Company Collection, Library of Congress Prints and Photographs Division Washington, D.C. https://www.loc.gov/resource/npcc.28680/
Group of young women reading in library of normal school, Washington, D.C., 1899. Photo by Johnston Frances Benjamin, courtesy Frances Benjamin Johnston Collection, Library of Congress Prints & Photographs Division. https://www.loc.gov/item/90711146/
Group of young women reading in library of normal school, Washington, D.C., 1899. Photo by Johnston Frances Benjamin, courtesy Frances Benjamin Johnston Collection, Library of Congress Prints & Photographs Division. https://www.loc.gov/item/90711146/

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