The Juanita Kreps Gallery, established in 1994 and located on the first floor of our renovated turn-of-the-century house, hosts three to four exhibitions annually. The changing exhibits reflect the work of documentary artists who have spent significant periods of time observing and recording diverse cultures in the United States and the world. Recent exhibitions have included Full Color Depression: First Kodachromes from America’s Heartland, color photographs taken by the Library of Congress’s Farm Security Administration (FSA) team; a video installation by filmmaker Laura Poitras, O’ Say Can You See, a stirring meditation on loss and revenge in the aftermath of 9/11; and Unsung Heroes, William Earle Williams’s powerful black-and-white photographs of places where black soldiers trained, fought, and lost their lives in the Civil War. The Juanita Kreps Gallery is committed to introducing new documentary work to audiences as well as supporting the work of established artists.
The Lyndhurst Gallery, established in 2001, is used both to expand the space of the Kreps Gallery and to present smaller exhibits in conversation with those in the Kreps. Exhibitions have included Reciprocity, an exhibition of Cedric Chatterly’s handmade large-format cameras; Disfarmer: Photographs from the Studio of Mike Disfarmer, Heber Springs, Arkansas 1939-1946; and Walker Evans at 100, digital translations of some of Evans’s best-known works in celebration of the 100th anniversary of his birth.
The Porch Gallery, established in 1998, is an intimate viewing space with natural light located on the first floor of CDS's Bridges Building. Originally used for work growing out of CDS programs, now a much wider range of work is presented there. Recent exhibitions include Sparkle & Twang: An American Musical Odyssey, with photographs by Marty Stuart, and work by winners of the 2011 Daylight/CDS Photo Awards.
The University Gallery—located on the ground floor of the Bridges Building, in close proximity to the CDS auditorium—was established in 2004 as a dedicated space for presenting the work of Documentary Studies students and faculty, and other documentarians associated with Duke University. Exhibitions presented in this gallery have included selected prints from There Is No Eye, photographs by John Cohen, the Lehman Brady Joint Chair Professor in Documentary Studies and American Studies at Duke and UNC–Chapel Hill in Spring 2004; Scenes of Secrecy: Visual Studies on Suspicion, Intelligence, and Security, including work by Trevor Paglen and William Noland; and Mr. Green’s Barbershop, a photo-essay by Jeremy M. Lange.