A history of the Scurlock family studio and its significance for the African American community of Washington.
David E. Haberstich
M.L.A., The Johns Hopkins University, 1970; B.F.A., Rochester Institute of Technology, 1963; graduate work in art history, Indiana University.
History of photographic art and technology, documentary photography, and twentieth-century art; management of photographic collections.
- Coordinator, NMAH Tuesday Colloquium.
- SIRIS Coordinator and SIRIS Blog Coordinator, Archives Center.
- Research on: Scurlock Studio photographs; stereoscopic photographs; and the Sickles Photo-Reporting Archive.
- Curator for architecture classroom materials, NMAH.
- Curator and designer, “Gift of the Artist: Photographers as Donors,” Archives Center exhibition area, NMAH, 2011.
- Exhibition curator, Serving Home and Community / Women of Southern Appalachia / Photographs by Barbara Beirne; Hidden Americans: Photographs of Gypsies by Carlos de Wendler-Funaro; Silver and Silk.
- Co-curator, The Scurlock Collection (Recent Acquisitions/History in the News exhibit), July–October 1998.
- Organizer and host, Oracle international meeting of photography curators, Washington, 1999; consultant for Oracle meeting in Goa, India, 2003.
Chair-Elect, Visual Materials Section, Society of American Archivists, 2012-2013; Chair, 2014-2014.
Appointed to advisory board, Instituto Superiore per la Storia della Fotografia, Palermo, Italy, 2002.
Smithsonian Research Resources Program grant to implement freezer storage and cataloguing of deteriorating Scurlock Studio Collection acetate negatives, 1998–1999. Two Smithsonian Research Resources Program grants (with John Fleckner) from Smithsonian Institution Research Resources Program to prepare a videodisc and database for the Underwood & Underwood Glass Stereograph Collection, 1989, 1991.
Consultant, Art and Architecture Thesaurus, Getty Art History Information Program, 1988 (photographic nomenclature and hierarchies).
- Society of American Archivists
- Society for Photographic Education
- European Society for the History of Photography
- Scottish Society for the History of Photography
- National Stereoscopic Association
- American Institute for Conservation
- College Art Association
A psychological and cultural meditation about the unique experience of photobooth photographs, with notes about the NMAH Hall of Photography’s photobooth.
A description of Barbara Beirne's aims in interviewing and photographing a number of energetic, courageous Appalachian women and how these documents highlight important aspects of Appalachian cultural, social, and economic history.
A discussion of the interrelationship of stereograph publisher Underwood & Underwood's European sales activities and its stereoscopic documentation of Europe for both the American and European markets.
The text of a paper delivered at a conference on tourism analyzes the goals of tourists when visiting museums as part of a sight-seeing ritual.
This essay describes the influence of Hahn's graduate school photography professor, Henry Holmes Smith, on her early work, including her revival of "obsolete" photographic processes such as gum-bichromate. Her technical and aesthetic experiments are described.
A description of the Archives Center's photographic collections, policies, and programs, with emphasis on major recent acquisitions, such as the Scurlock Studio Records.
A summary of the history of the Scurlock Studio and a description of the the Museum's Scurlock collection, with remarks about conservation challenges, especially regarding deteriorating acetate negatives.
A critical appraisal of the influence of diarist and surrealist Anais Nin on the films of her husband Ian Hugo. Nin served as muse, model, actress, and collaborator in inspiring Hugo to become a creative artist.
The text of a paper delivered at a conference on tourism details the ways in which commercially published stereographs were used to simulate travel experiences, 1895-1921.