Blassingame’s path-breaking scholarship has had a profound impact on the American understanding of slavery and the African American experience. The collection includes correspondence, personal manuscripts and research files from Blassingame’s long academic career, and is particularly rich in materials drawn from his work on the Frederick Douglass Papers.
The artistic response to societal tragedy is always a difficult balance: how can art contribute to understanding and interpreting, without aestheticizing suffering? In the past decade, films, novels, and other creative approaches to events such as the Holocaust, 9/11, and the conflict in Darfur have provoked controversy and debate about art’s place in the discussion of international politics and personal suffering.
Shortly after the fourth anniversary of Hurricane Katrina’s 2005 landing on the Gulf Coast, the RBMSCL acquired a unique artist’s book, Katrina by Beth Thielen, made in 2007. An opening supported by waves of paper reveals tiny human figures trapped in a whirlpool, begging for help. The text asks, “How do we make a just society when there is an underlying contempt for helplessness?”
In correspondence with this post’s author, the artist explained: “I made the work because the moment was such a clear and rare reveal of the darker undercurrents of our country…. During Katrina we all watched the images of people with outstretched arms pleading towards the sky. Is there any image more archetypal of helplessness? It is a crying baby’s pose. Reproachful disdain to helplessness… is as primitive as a school yard bully calling someone a crybaby after taking their candy.” She continues, “To feel with is to feel for. A civilized response.”
Thielen’s work joins another artist’s book in the RBMSCL’s collections, Habitat by Jessica Peterson, which explores Katrina’s destruction of Biloxi, Mississippi. Both works add to our collections of Southern Americana and artists’ books by women. Nearly 300 more works of fiction, films, essays, and scholarly works on Hurricane Katrina can also be found in the Duke Libraries’ online catalog (see these catalog records here).
Post contributed by Will Hansen, Assistant Curator of Collections
The press dubbed Doris Duke “the richest girl in the world” when she inherited a fortune from her father, Duke University founder James B. Duke, in 1925 at the age of twelve. Upon her death in 1993, Duke left the majority of her estate to the Doris Duke Charitable Foundation. The Foundation recently gave its historical archives to the RBMSCL. The Foundation’s historical archives, 800 linear feet of materials (an amount that, stacked vertically, would be four times taller than the Duke Chapel), includes photographs, architectural drawings, and motion picture footage of Doris Duke and the Duke family.
Records of Duke’s Foundation for Southeast Asian Art and Culture, the Newport Restoration Foundation, and the Duke Gardens Foundation are in the archives as are documents related to the operation of her properties: Duke Farms, a 2,700-acre estate in Hillsborough, New Jersey, that her father created at the turn of the 20th century; Rough Point, the Duke family mansion in Newport, Rhode Island; and Shangri La, her home in Honolulu, Hawaii, where she exhibited her extensive collection of Islamic art.
All of the materials in the Doris Duke Charitable Foundation historical archives will be open for research in about two years when processing of the materials has been completed.