Guide to the Max Belcher Photography Collection, 1969-1998
The photographs and printed materials in this collection date from 1969 to 1998, and document the work of Max Belcher, American-born photographer. The collection is organized into two series: Printed Materials and Photography. The Printed Materials Series consists of publicity, exhibit literature, and other materials related to Belcher's work as a photographer. The much larger Photography Series includes 1,027 contact sheets (860 black-and-white, 167 color), 381 photographs (239 black-and-white, 142 color), and five color fine prints spanning nearly three decades of Belcher's professional work as a photographer. This series is divided into eleven project-based subseries, which have been arranged chronologically by the start date of each project. Within each subseries, contact sheets precede photographs,and black-and-white work precedes color. Individual items in the photography series bear specific technical and identifying information, usually marked by Belcher on the backs of contact sheets and photographs. Acquired as part of the Archive of Documentary Arts.
- Collection Number
- Max Belcher Photography collection
- Belcher, Max
- 10 Linear Feet, 1425 Items
- David M. Rubenstein Rare Book & Manuscript Library
Access to the Collection
Researchers must register and agree to copyright and privacy laws before using this collection.
All materials in the collection are available for study and research in the Library, except those specifically designated as access-restricted. At present, the only access-restricted materials are the five exhibition quality, fine prints from the project American People: Portraits of the Philadelphia Community in the Dominican Republic. Patrons may view these images rendered as exhibition images. If, upon viewing these exhibition images, a patron identifies a specific need to view the corresponding fine prints (e.g., for consideration for an exhibition), Library staff can permit the patron to view the fine prints.
All or portions of this collection may be housed off-site in Duke University's Library Service Center. The library may require up to 48 hours to retrieve these materials for research use.
Use & Permissions
The copyright interests in this collection have not been transferred to Duke University. For more information, consult the copyright section of the Regulations and Procedures of the David M. Rubenstein Rare Book & Manuscript Library.
All items in the collection are open to researchers except five exhibition-quality prints from the project American People: Portraits from the Philadelphia Community in the Dominican Republic. Photocopies of each of these prints have been placed with the color photographs in the subseries for study by Library patrons.
Publishing requests should be directed to Mr. Belcher, who retains the copyright on all materials in this collection. Stipulations regarding the exhibition and reproduction of materials in the photography series vary according to the type of image in question, and are summarized below. The designation of specific images as professional, exhibition, study, reading-room-only or undesignated images may be determined by consulting Mr. Belcher's notes on individual photographs and contact sheets.
Professional and Exhibition Images
Exhibition: Request permission from Mr. Belcher.
Reproduction: The Library may make viewing copies, photocopies or slides for the purposes of research, teaching, private study or scholarly illustration.
Exhibition: May be used in exhibitions only within the Library itself, and only when appropriate language is used to describe the place of these study images within Mr. Belcher'soeuvre.
Reproduction: The Library may make viewing copies, photocopies or slides for the purposes of research, teaching, private study or scholarly illustration.
Reading-Room-Only and Undesignated Images
Exhibition: These images may not be exhibited within or beyond the Library at any time whatsoever.
Reproduction: Pen and ink renditions of images so marked are the only allowable form of reproduction. Reading-room-only and undesignated images may not be reproduced in any photographic, electronic or digital form, or by other means for any purpose whatsoever.
Specific images on contact sheets have been identified as professional, study, or reading-room-only images, or remain undesignated. Stipulations on exhibition and reproduction of individual contact sheet images are dependent on the specific designation of the images in question.
Exhibition-Quality, Fine Prints
Exhibition: These prints may be displayed within or beyond the Library, at the Library's discretion.
Reproduction: Selected fine prints in this collection are restricted from general research use and thus are not to be reproduced. However, these images are duplicated in the collection as exhibition images, which may be reproduced according to the stipulations above. Requests for fine prints not in the Library's possession for use in exhibition, as well as requests for reproductions of fine prints for publication, should be directed to Mr. Belcher.
How to Cite
[Identification of item], Max Belcher Photography Collection, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
Series includes Belcher's curriculum vitae, a summary of his "American People" project in the Dominican Republic, an exhibition brochure and three news articles related to his photography. Additional exhibit literature catalogued separately in the David M. Rubenstein Rare Book & Manuscript Library includes A Land and Life Remembered: Americo-Liberian Folk Architecture, House and Home: Spirits of the South, and Claiming Place: Biracial American People.
The photography in this collection represents Belcher's work from his first forays into photography in New York City between 1969 and 1971, up to his most recent projects in Vietnam, the Dominican Republic and the United States. This series is organized by project subseries, which are arranged chronologically by the beginning date of each project. Within each subseries, black-and-white work precedes color work, and contact sheets precede photographs. Subseries descriptions describing collection holdings for each project follow the restrictions note below. For information about specific contact sheets and photographs, researchers are advised to consult Belcher's own notes on his work, usually found on the back of individual contact sheets or photographs.
This subseries includes 104 contact sheets (97 black-and-white, 7 color) from Belcher's photographic work in New York City streets and neighborhoods. Many shots are from Belcher's days as a student at the New School for Social Research and as a production assistant at NBC News in New York. Images include portraits, landscapes, still lifes, cityscapes, and architecture; there are a variety of experimental images as well.
This body of work explores the relationships between migration, identity and history in the American Liberian experience. Belcher's interest in this topic derived from his upbringing as a Philadelphia-born American who was raised in Liberia for ten years beginning in 1954. The subseries includes 210 black-and-white contact sheets, 89 black-and-white photographs, 22 color contact sheets and 10 color photographs. The earliest work, completed between 1971 and 1973, represents some of Belcher's first professional work as a photographer. There is also additional fieldwork done in the years 1977-1978 and 1982-1983, featuring American Liberian architecture and portraiture of indigenous Liberians and American Liberians. The exhibit catalog, A Land and Life Remembered: Americo-Liberian Folk Architecture, available in the Rubenstein Rare Book & Manuscript Library, provides more information about these projects.
Belcher's subsequent work on Southern architecture (located in a separate subseries) took him back to the origins of Liberian architecture in the vernacular architecture of the American South. These examples of cultural memory and historical continuity are discussed in both A Land and Life Remembered and House and Home: Spirits of the South, also held by the Rubenstein Library. Belcher returned to the themes of migration, identity and history in his later work in Samaná, Dominican Republic (also located in a separate subseries).
The 165 contact sheets and 21 photographs in this subseries, all in black-and-white, include experimental shots documenting Belcher's early and continuing work with various grades and makes of film, paper and photographic equipment. The images document a range of Belcher's photographic improvisations and studies, as well as attempts at capturing various textures, scapes, and light; and at composing with different angles and in varied photographic settings. Thus, the subseries documents the development of Belcher's photographic signature and style. The images include portraiture, architecture, landscapes and cityscapes, and were shot in Massachusetts, Florida, and Michigan.
The materials in this subseries include extensive portraiture work completed during three public schools residencies in the environs of Boston, Massachusetts. There are three subgroups, each based on the school or project where the residency took place: Washington Community School (1979-1981), Somerville Media Action Project (1984), and Jamaica Plain (1984-1986).
The Massachusetts Council on the Arts sponsored Belcher's work as artist-in-residence from 1979-1981 at the Washington Community School in Lynn. The images taken by Belcher primarily consist of portraits of elementary- and upper-school students, with a handful of shots of architecture, landscapes and other subject matter. The subseries includes 80 black-and-white contact sheets, nine black-and-white photographs and one color contact sheet.
In 1984, Belcher received support for his work on the Somerville Media Action Project (SMAP), in Somerville, Massachusetts, through a one-month artist-in-residence program sponsored by the Massachusetts Cultural Council. These selections from his SMAP work feature portraits of local teenagers, as well as a variety of other city images. This subseries contains 18 contact sheets and 9 photographs, all in black-and-white.
Sponsored by the Massachusetts Council on the Arts and Humanities and by the National Endowment for the Arts, Belcher was artist-in-residence from 1984-1986 at Jamaica Plain High School in Jamaica Plain, Massachusetts. The 73 black-and-white contact sheets, 12 black-and-white photographs, and 3 color contact sheets consist overwhelmingly of portraits of teenagers, with a few contact sheets with images of buildings and landscapes.
Images in this body of work include street scenes, portraiture, architecture, and town and landscapes made during Belcher's 1983 study in Israeli cities and communities. It contains 86 contact sheets and 12 photographs, all in black-and-white.
This study of culture and community in the Southern U.S. comprises street scenes, architecture, and landscapes shot in New Orleans, Luoisiana, West Palm Beach, Florida, and several locations in North Carolina, South Carolina, and Georgia. It includes 14 black-and-white contact sheets, 12 black-and-white photographs, eight color contact sheets, and seven color photographs.
The Southern architecture photographs in this body of work were made to complement Belcher's project on Americo-Liberian architecture. They include images of churches, grave markers, houses, plantations and other 19th and 20th century architecture. The shots were taken in Lowndes County, Georgia; Bourbon, Clark, Fayette, Logan and Woodford counties, Kentucky; Alamance, Bertie, Chowan, Gates, Northampton, and Perquimans Counties, N.C.; Williamsburg and York Counties, S.C.; and Isle of Wight and Southampton Counties, Virginia. Photographic materials consist of 29 black-and-white contact sheets, 59 black-and-white photographs, and one color print.
The Rubenstein Library also holds a copy of the exhibit catalogs, House and Home: Spirits of the South and A Land and Life Remembered, which feature work from this project.
These images of vernacular architecture in New Brunswick and Quebec, Canada were taken during two trips in June and August 1990, supported by a Summer Research Grant from the Kenan Charitable Trust at Phillips Academy, Andover, Massachusetts, where Belcher taught. Materials consist of seven black-and-white contact sheets, one black-and-white photograph, 18 color contact sheets, and six color photographs.
American People: Portraits from the Philadelphia Community in the Dominican Republic, 1991-1992, 1995-1996, and undated
Returning to the major themes of Belcher's earlier work in Liberia , this work explores the relationships between migration, identity and history by documenting African American emigration to and life in Samaná, Dominican Republic. Specifically, the photographs portray the descendants of U.S. slave- and free-born blacks who emigrated from Philadelphia to Samaná in 1824 and 1825 as part of a migration organized by the Haitian Emigration Society. For a fuller description of this project, see Belcher's one-page description of his work in Samaná, included in the printed materials series. The subseries includes 51 black-and-white contact sheets, 4 black-and-white photographs, 96 color contact sheets, 98 color photographs, and 5 exhibition-quality, fine color prints.
This subseries contains five exhibition-quality, fine prints that are restricted to general access. Photocopies of each of these prints have been placed with the color photographs in the subseries. Please consult with a Research Services staff if access to the fine prints is needed (e.g. for exhibition purposes).
RESTRICTED: Photocopies of these prints are located at the beginning of Box 41 for viewing by researchers.
This group of images derives from Max Belcher's field work in Vietnam during January, 1994. The 30 contact sheets and 11 photographs, all black-and-white, include architecture and portraits, primarily of female veterans of the Northern Vietnamese Army who served during the period of conflict with France and the United States.
The photographs in this subseries explore biracial and multiracial identity among young American adults born in the 1960s. This work was exhibited as part of a larger project on racial identity undertaken in conjunction with social anthropologist Marion Kilson and professor of art Theresa Monaco, and supported by grants from the Massachusetts Cultural Council, Learning Society Inc., Salem State College and Emmanuel College. The subseries includes 12 contact sheets and 20 photographs, all color. For more on this project, researchers are encouraged to consult the exhibit brochure, Claiming Place: Biracial American People, available in the David M. Rubenstein Rare Book & Manuscript Library.
The addition (2008-0304) includes six matted prints that appear to be from Belcher's Americo-Liberian series, taken in the mid-1970s.
Max Belcher was born in Philadelphia in 1944 to a black American father from North Carolina and a Jewish American mother of Polish/Lithuanian descent, born in rural Pennsylvania. In 1952 his father went to the Gold Coast at the invitation of the couple's wartime friend, Kwame Nkrumah, for what was scheduled to be an eight-week business trip. (His father was to remain in Africa for the next four decades.) By 1954, Belcher, Sr. had established himself in neighboring Liberia and had become a naturalized Liberian citizen; Max and his mother and sister then joined him. At sixteen, Belcher began working in broadcasting as a staff announcer for the Liberian Broadcasting Corporation. By the time he left to go to school in the U.S. in 1964, his lived experience in Liberia, French Guinea and Sierra Leone, combined with his growing appreciation of the capacity of radio, television and film to inform and influence, made him aware of the need for the material and techniques required to disseminate practical information in a developing country, particularly on matters of public health, agricultural practice, child rearing, and road safety.
Belcher's plans were quickly thwarted by the escalation of the Vietnam War. Feeling that the draft was inevitable, Belcher enlisted in the U.S. Marines, serving as a radio and television broadcaster in the U.S. and at Armed Forces Radio and Television Service on Okinawa; and as a Marine Corps Combat Correspondent in Vietnam. After his tour of duty he settled in New York City, where he took a full-time job as a production assistant at NBC News and enrolled in college. He began his studies at Columbia University in 1968 but quickly transferred to the New School for Social Research, where a filmmaking instructor encouraged him to grow accustomed to seeing the world through the lens of a still camera. That training, initially intended to develop his skills as a filmmaker, introduced Belcher to the expressive potential of photography. Continuing his liberal arts studies at the New School, he also enrolled in a photography class at the School of Visual Arts. At the same time he began shooting experimental photographs in and around New York City, often choosing friends, landscapes and local architecture as his subjects. Finishing his studies in 1970, he returned to Liberia in 1971, embarking on what would become his first major project as a professional photographer.
Since that time, Belcher has developed into one of the nation's premiere living photographers. His photographic interests in portraiture and vernacular architecture have developed in conjunction with the thematic exploration of racial identity, emigration and history that run through his work in Africa, Asia, North America, the Middle East, and the Caribbean. He has had numerous one-man shows in the eastern United States and has contributed to group exhibits group exhibits across the U.S. and in Canada, Italy, Chile, Vietnam, and Soviet Armenia. Belcher's photography is held both by private collectors and in the permanent collections of galleries and museums in the United States, Canada, and Vietnam. He has received major support from the National Endowment for the Humanities, Fulbright Scholars Program, the LEF Foundation, Massachusetts Cultural Council, the Kenan Charitable Trust, and programs of the National Endowment for the Arts. His publications include House and Home: Spirits of the South (1994), and A Land and Life Remembered: Americo-Liberian Folk Architecture (1988), both held by the David M. Rubenstein Rare Book & Manuscript Library. He has also taught black-and-white photography to beginning, intermediate and advanced students in Massachusetts, and has lectured on his work. He currently resides in Cambridge, Massachusetts with his wife.
Click to find related materials at Duke University Libraries.
- African Americans -- Dominican Republic -- Pictorial works
- African Americans -- Portraits
- Architecture -- Liberia -- Pictorial works
- Architectural photography
- Documentary Photography -- Liberia
- Documentary Photography -- United States
- Education -- Massachusetts -- Pictorial works
- Emigration and immigration -- Social aspects
- Photographers -- United States
- Portrait photography
- Racially mixed people -- United States -- Pictorial works
- Vernacular architecture -- Liberia -- Pictorial works
- Vernacular architecture -- Southern States -- Pictorial works
- Canada -- Pictorial works
- Dominican Republic -- Pictorial works
- Liberia -- Social life and customs
- Liberia -- Pictorial works
- Massachusetts -- Pictorial works
- New York (N.Y.) -- Pictorial works
- Southern States -- Pictorial works
- United States -- Race relations
- Vietnam -- Pictorial works
The David M. Rubenstein Rare Book & Manuscript Library received the Max Belcher Photography Collection as a purchase in 1995, 1997, and 2008. While the collection is owned by the Library, Max Belcher retains the copyright to his work.
Processed by Lisa Gayle Hazirjian with Alexander X. Byrd, Karen Jefferson, and Diane Sutton
Completed August 30, 1998
Encoded by Don Sechler
Updated by Meghan Lyon, January 2009
Encoding and description pdated by Paula Jeannet Mangiafico, March 2014