About
About “The Baltimore Collection” & Curating Hidden Collections
Curating Hidden Collections & the Black Archive
Location
Baltimore
The Best Possible Sad Fate for “The Baltimore Collection”
Dear, “Unidentified” woman in photo 31
Finding Baltimore in “The Baltimore Collection”
A Long Time Coming – Becoming familiar with “The Baltimore Collection”
Curating Hidden Collections & the Black Archive
Taking steps: on researching difficult photographs
“Concrete Identification” in Early Twentieth Century Photography
Giving Credit Where Credit is Due
Philadelphia
A Trip to the Parlor Gallery
Atlantic City
The Atlantic City Boardwalk: Black Vacationing and Portraiture
Washington, D.C.
Little Tikes’s Naval Uniform
Unknown Location
Intimacy of Photography
The Temptation of the Handwritten Inscription
Beyond Anonymity: Imagining the Life of One Unidentified Sitter
Studios
Parlor Gallery
A Trip to the Parlor Gallery
588 North Gay Street
Finding Baltimore in “The Baltimore Collection”
Lewis Gwynn
Taking steps: on researching difficult photographs
Theory & Practice
Theorizing the archive
“More Product, Less Process:” The Privilege of Curating Hidden Collections & the Black Archive
Theorizing Culture within “The Baltimore Collection”
We Want Decolonization and We Want it Now!: “The Baltimore Collection” at the University of Delaware
Dear, “Unidentified” woman in photo 31
A Long Time Coming – Becoming familiar with “The Baltimore Collection”
Archival Recovery and “The Baltimore Collection”
Learning from the Best
The Temptation of the Handwritten Inscription
Conceptions of the Black Archive and the Politics of the Unknown
Learning to Question the Library (And How You Can Do It Too)
Describing “The Baltimore Collection”: Power in Photographs and Metadata
Decolonization, The Archive, and You
Our ARTstor Guidelines
Annotated Bibliography
Conservation
About the Photograph Conservation Block
Condition Diagrams & Reports
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