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• Chichen Itza, Yucatan, Mexico, el castillo
• Kabah, Yucatan, Mexico, Codz Poop
• Santa Rosa Xtampak, Campeche, Mexico, the palace
• Tikal, Peten, Guatemala, stela and altar
• Yaxha, Peten, Guatemala, ballcourt
• Dzibiltun, Campeche, Mexico, structure
• Nocuchich, Campeche, Mexico, tower
• Tikal, Peten, Guatemala, Temple V
• Yaxchilan, Chiapas, Mexico, statue inside structure 33
• Hochob, Campeche, Mexico, structure 2
• Sacbe, Yucatan, Mexico, structure 1
• Tantah, Campeche, Mexico, structure
• Uxmal, Yucatan, Mexico, Pyramid of the Magician
• Yaxha, Peten, Guatemala, pyramid

A portoflio of original photographs by William Frej documenting Mayan ruins in Guatemala and Mexico previously photographed by Teobert Maler in the late 19th century

Artist's book consisting of: 4 leaves of text with an essay in Spanish and English, a colophon, and a certificate of authenticity signed by the artist; 5 photograph portraits of women with geometric overlays; 1 "photo-sculpture", a photocollage portrait of woman; 1 interactive sculpture consisting of a wooden base, 5 photograph portraits mounted on black acrylic, and 5 geometric patterns silkscreened on clear acrylic, designed for one portrait and one geometric pattern to be held in the wooden base and displayed interchangeably

Images documenting "Judea" Holy Week celebrations of the Cora people of Nayarit, Mexico

Photo portfolio of contemporary street scenes shot in and around Mexico City.

"The section of the Transcontinental Railroad between Lucin and Corrine, Utah marked the final push of the Central Pacific crews working from the west (from the San Francisco/Sacramento area) and the Union Pacific track crews working from the east (from Omaha, Nebraska). Promontory Point, Utah, which lies roughly half way between Lucin and Corrine, was eventually selected to mark the meeting of the Central Pacific and the Union Pacific lines in 1869. Each line's grade construction crews, which followed the survey crews and in advance of the track laying crews, actually met and continued to work past each other side by side for miles. Final payments from the U.S. Congress to the railroads was based on miles of track laid and each railroad worked to optimize its own financial benefit. Today parallel road beds can still be seen between Monument Point, Utah, which lies to the west of Promontory Point and Corrine to the east. In 1904 all this earlier effort was abandoned, including Promontory Point itself, as the Lucin Cutoff was built directly across the Great Salt Lake, a bypass saving forty-four miles. In 1942, the original Promontory Summit line was removed between Lucin and Corinne with the last Promontory spikes pulled up with the scrap metal donated to the World War II effort. Ruwedel's documentation of this now-abandoned stretch of construction -- and ambition -- is part of his "Westward the Course of Empire" project (1994-2013), a massive documentary project picturing abandoned railroad grades, tunnels, trestles, bridges, and cuts throughout the Western U.S. and Canada."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"The photos are of fake vendor stalls in a fake bazaar in a fake Arab village, with Arab vernacular signage painted on the walls. A companion piece to the later Coffee, hookah, car (2017), the book documents one of a number of pseudo-Arab villages created as part of the Fort Irwin National Training Center Arab for military training purposes. The bazaar pictured here can be inhabited by costumed military and civilian role-playing inhabitants for training interactions, including simulated battles. Fort Irwin is located in the Mojave Desert."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"With Ruwedel's artists' books, social commentary may masquerade as humorous visual anecdote. What is the $40.00 difference referred to in the title? The left facing photo shows a green panel truck, “2 Maids Cleaning – Commercial & Residential – $59,” while the right facing page shows a hot pink panel truck, “Topless Maids – $99.” The humor and despair of life in contemporary Southern California is presented via a very simple and straightforward book design."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Created from Ruwedel's collection of Devil’s Gate (Weber Canyon, Utah) photographic ephemera, this Blurb book reproduces stereo cards, materials from Clarence King’s Geological Exploration of the Fourtieth Parallel, postcards, and so on. It closes with two views by Ruwedel in the manner of and titled “after Russel" and “after Watkins" as homages to 19th-century American landscape photographers, Andrew J. Russell and Carleton Watkins."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Created from Ruwedel's collection of Devil’s Slide (Weber Canyon, Utah) photographic ephemera, this Blurb book reproduces stereo cards, materials from Clarence King’s Geological Exploration of the Fourtieth Parallel, postcards, and so on. It closes with a view of Devil's Slide shot by Ruwedel in the manner of and titled “after O’Sullivan,” as an homage to 19th-century American landscape photographer, Timothy O'Sullivan."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Two almost identical apartment buildings are presented, the first at 8115, the second next door at 8107, Lincoln Boulevard, Los Angeles. The photographic syntax is the same for each picture, the camera placed dead center in front of each building, with the street in front of the buildings shown in the foreground. The consistent syntax and the mini-grid of two facing pictures is a nod to the works of both Ed Ruscha and Bernd & Hilla Becher. The straight on approach recalls Ruscha’s Every building on the Sunset Strip (1966). Ruscha photographed his apartment buildings in Some Los Angeles apartments (1965) from a diagonal vantage point."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021).

"A combination homage to Hollywood, Los Angeles, Ed Ruscha, and, of course, books, the two images are of Karen Black, balancing a stack of books on her head in a scene from John Schlesinger’s The Day of the Locust (1975) and Ed Ruscha, balancing a stack of his books on his head (by Jerry McMillan)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Two photos of similar building facades, at 1255 and 1259, no street name given. The first has a worn commercial sign, “Winning,” the second a hand lettered sign, “Losing.” As is typical of Ruwedel’s seemingly happenstance process of discovery and affectless embrace of the forlorn (see Rice, San Bernardino County; Rhino's camp), the “Winning” sign has seen better days – no winners here – and the “Losing” sign is perched at a precarious angle. Losing appears to be inevitable."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Desert landscapes of abandonment and isolation are a familiar theme in Ruwedel's oeuvre, especially in the "Desert Houses" and the "Pictures of Hell" series. The front cover shows the Devils Den oil fields, the rear cover a view of the Kern County landscape. The first interior print is a view down a pitted road, the following facing pages show two abandoned houses, and the last print another view down the same pitted road with Ruwedel’s truck parked off to one side of the road. The inclusion of the truck is a reference to similar depictions of photographers’ wagons in 19-century western landscape photographs, e.g., Timothy O’Sullivan’s in 'Desert Sand Hills near Sink of Carson, Nevada.' (1867)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Rice is an abandoned town at the southern tip of the Mojave Desert. It is one of a number of such sites towns figure in his larger, epic project, the "Desert Houses" series, which documents abandoned dwellings in the desert east of Los Angeles. In Rice, Ruwedel's photographic cataloging of these curiosities of desolation and their sense of failed expectations includes the following: discarded bras hanging from trees, a dilapidated gas station, an untrimmed palm tree, three mattress lying in the dirt, and so on."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"In the summer of 1973, John Schott drove Route 66 from the midwest to California and back, sleeping in his pick-up truck and photographing with an 8x10-inch Deardorf view camera. Among his subjects were vintage motels situated along the highway, and it was a selection of these photographs that, two years later, were included in William Jenkins' seminal New Topographics exhibition at the George Eastman House. The twenty images that were included in this exhibition have been well-documented, though never reproduced in a manner showing the richness of detail and tone displayed in the original contact prints. We are pleased to announce that, as part of our NZ Library, a beautifully printed, oversized book is now available which presents not only the 20 photographs originally shown from this important body of work, but all 47 photographs included in the artist's complete set of archived images. This important new publication opens with an illuminating essay by Britt Salvesen, Department Head and Curator of the Wallis Annenberg Department of Photography, and the Department Head and Curator of Prints and Drawings, Los Angeles County Museum of Art, and a leading expert on the subject. John Schott's photographs are held in the permanent collections of many public collections, including those of The George Eastman House, Rochester, New York; The Museum of Modern Art, New York; and the Fogg Art Museum"--Publisher's website.

"42 Rue Fontaine was the address for Breton's home. The captions for the three prints create the textual narrative for this book: “42, rue Fontaine” [following the title page - showing the front of the building]; “When Andre Breton stepped outside of his apartment,” [left page - looking down the street one way]; “he had two choices” [right page - looking the other way]. Part of Ruwedel’s continuing series of homages to noted Surrealist figures, in this case, to André Breton."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Five sites in California (not currently or barely populated) with the designation “Dogtown,” e.g. Dogtown, Mono County, an abandoned site from the eastern slope Sierra Nevada gold rush era, are featured. The "Dogtown" series is one of Ruwedel's place name projects, but much smaller in scale than the "Pictures of Hell" project. See also the Dogtown portfolio of five prints (2006/2008)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"References are to the location and one of the palm trees in Ruscha’s A Few Palm Trees (1967) and John Baldessari’s hometown, National City, which often figured in his work. Cf. John Baldessari's Wrong from 1966–68."----Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"The first page, a hand drawn map on translucent vellum paper, outlines an island with two locations identified, Squirrel Cove on the east coast and Whaletown on the west coast. When opening the book the title page shows through the map from the backside, with the title setting up the books narrative, "From Squirrel Cove to Whaletown." What went from Squirrel Cove to Whaletown? The two prints, on facing pages, provide the necessary documentation. They picture a small shack shown in two different locations, one captioned "2012," the other "2013." The location is Cortes Island in the Discovery Islands archipelago on the coast of British Columbia, Canada, an area Ruwedel knows well. The use of the map as a locational device and photography as a means to document an activity, and the somewhat absurdist nature of the operation (how and why would a shack move across the island?) suggests a referencing to the artists and practices of the Conceptual Art movement, possibly in this case Richard Long or Hamish Fulton even Edward Ruscha."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021).

"A continuation of “The Italian Navigator” project, the book is primarily text with twenty-two quotes by those who witnessed the Trinity test in the Jornada del Meurto desert at 05:29:45 on July 16, 1945. Those quoted include Robert Oppenheimer, Kenneth Bainbridge, Otto Frisch, General Thomas Farrell, Isidor Rabi, an anonymous GI, and many others."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021).

"Ruwedel often finds what he refers to as "Artifacts" around the abandoned houses that comprise his "Desert Houses" series. Often he finds vinyl records, singles (45s, 7" in diameter) and albums (78s, 12" in diameter). The obvious, yet unstated, reference is to Edward Ruscha's artists' book, Records (1978). Ruwedel often creates homages, or "nods," to artists he admires, with several such nods towards Ruscha."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"The book opens with a straight on, centered shot of a shack, a small van, and an abandoned delivery truck lined up next to each other in the desert. On the verso of this page red digitally printed text lists the graffiti profanity painted on the front of the abandoned delivery truck (plus some other phrases which are apparently painted elsewhere). The truck is pictured in close-up on the facing page. Ruwedel’s documentation of a forsaken and desolate desert vernacular, the consistency of his photographic grammar and the apparent emotional neutrality of his presentations are constants in his practice. This bedrock syntax of Ruwedel’s oeuvre is certainly drawn to some extent from Timothy O’Sullivan’s 40th Parallel work of the 1870s, the Becher’s Ruhr area industrial cataloging of the post-War era, the New Topographers’ focus on the man-altered landscape, and Edward Ruscha’s grammar of repetition."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Relating to Ruwedel’s larger “Italian Navigator” project, The Conqueror references the 1955 Hollywood epic of the same name starring Susan Hayward and John Wayne. Wayne is depicted as Genghis Khan, Hayward as “The Tartan Princess.” One page spread consists of a page of sandy brown paper (left) with silkscreen lettering text on the film and nuclear atmospheric testing facing a full page print by Ruwedel of Snow Canyon, Utah (right). Snow Canyon served as the Gobi Desert for the film and also had the distinction of being downwind of the Nevada Test Site where thirty-one atmospheric tests occurred. Radioactive traces are still evident in Snow Canyon today."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Black and white reproductions of thirteen Ruwedel photographs of individual toy ray guns (water pistols, etc.), shot on the desert floor where they were found. This is another of Ruwedel's references to Edward Ruscha's numbered books, e.g., Thirty four parking lots in Los Angeles (1967), Twenty six gasoline stations (1972), and Nine swimming pools and a broken glass (1976)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021).

"The nine prints follow in “numerical” order, from “Una Palma” to “Thousand Palms Oasis.” Although there are not actually 1,212 palms pictured, the total of the number of palms in the place names adds up to 1,212. This is another of Ruwedel's references to Edward Ruscha, in this case to A Few Palm Trees (1971), and also to Ruscha's use of numbering as an absurdist gesture, e.g., Twenty Six Gasoline Stations (1972). One thousand two hundred and twelve palms is another of Ruwedel’s place name pieces, similar to the Dogtown artists’ book and portfolio, or the much larger and more extensive “Pictures of Hell” project and book."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Alongside Nevada Test Site Scrapbook (1995) and The Conqueror (2012), this is another work that derives from Ruwedel's “The Italian Navigator” project, a series of works referencing America’s development of the atomic bomb and history of nuclear explosive testing. Reproducing four photographs from the 1953 tests at the Yucca Flat area of the Nevada Test Site, the book serves as a photographic memento of 1950s testing. Alternating with the reproduced 1953 images are three full page gelatin silver prints by Ruwedel, two showing a wooden test house still standing today (also shown in one of the smaller reproduced images from 1953), the third a landscape with the test house in the far distance. The printing paper used for the cover image is from a fogged box of Agfa Classic matte, the interior silver prints are Bergger Semi Gloss (as per MR)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Four abandoned mobile homes are photographed, with one side of the mobile home on the recto of the page, the other side on the verso of the page. This format creates three facing page spreads which show different trailers on the left and right hand spread. The depiction of each trailer follows a standard format, which is typical of Ruwedel's practice. The sides of the trailers are shot straight on, centered left to right, with slightly more foreground than sky showing, creating a desert typology of immobile desolation. These aspects of identification and documentation call to mind the industrial typologies of Bernd and Hilla Becher. Imperial County is located in California's Colorado Desert and forms part of the United States/Mexico border."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Two modular homes are photographed from their end views, each split open down the middle and slowly settling unevenly into the desert, the gap at the top of the split wider than the gap at the bottom. The book’s extremely simple structure, with penciled cover title and title page, and presentation of a single set of facing-page photographs, accentuates Ruwedel's brief but thoughtful homage to Conceptual artist, Gordon Matta-Clark, who was known for his reworkings, or splittings, of buildings. The book also engages with entropy, seriality and and typology, all consistent hallmarks of Ruwedel's practice."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Ruwedel’s portrayal of this forlorn house on the western edge of the Mojave Desert, with its presentation of trash and tumbleweed covered floors, graffiti painted walls, stained mattresses and busted up walls, proposes neither sympathy nor empathy. With all its evidence of abandonment the house is simply there, mute in its desolation, brimming with detritus, but seemingly empty of narrative. The black and white prints are all exterior views of the house, the color prints all interior views."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"Adelanto is in San Bernardino County in the Mojave Desert, the location for much of the "Desert Houses" series. The color pigment print on the inside front cover shows a doorway with a door hanging loose (but mostly blocking the doorway) on which someone has spray painted a profanity. However the door is upside down, consequently so is the graffiti. This upside down, backwards text is repeated on the second page in dry transfer lettering, facing the title page. Inside the rear cover Ruwedel has mounted the same scene upside down so the graffiti profanity reads properly left to right. The remainder of the photos show the usual destruction of a deserted desert home and piles of scattered trash. Ruwedel’s flipping of the last photograph restores at least a sense of lexical order to yet another portrayal of desert desolation."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

Compiled by Paul Grunland, the booklet contains photocopies of photographs, maps, reminiscences by Jacomena Maybeck, a 1954 property deed, a 1913 letter from George H. Hoyt to Maybeck about the Purdue Avenue extension, and an original article by Robert Shaner, "Maybeck hilltop properties" (10 p.), with copies of photographs taken during the building of his home on Purdue Avenue in Berkeley. In addition, there is an article by Lawrence Mannion, "Notes on the geology of part of upper Kensington," 2007.

"The nine prints follow in “numerical” order, from “Una Palma” to “Thousand Palms Oasis.” Although there are not actually 1,212 palms pictured, the total of the number of palms in the place names adds up to 1,212. This is another of Ruwedel's references to Edward Ruscha, in this case to A Few Palm Trees (1971), and also to Ruscha's use of numbering as an absurdist gesture, e.g., Twenty Six Gasoline Stations (1972). One thousand two hundred and twelve palms is another of Ruwedel’s place name pieces, similar to the Dogtown artists’ book and portfolio, or the much larger and more extensive “Pictures of Hell” project and book."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

Subjects include native Americans at the Chumash pow-wow, the Morongo Indian Reservation, Palm Springs, Hupa Valley, Grinding Rock State Park, Hopland Indian Reservation, Santa Ynes Reservation, the Klamath River Valley, the Poston Relocation Center, and the Stanford pow-wow. Crafts and occupations are shown such as boat and hourse building, acorn preparation, casinos, traditional games, celebrations, etc.

"These various Dogtowns, now mostly abandoned, are in San Joaquin, Mono, Mariposa, Calavaras, and Glenn counties, California."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

"This facsimile version of a previously released artists' book was created by Ruwedel for an exhibition but never used. The conceptual structure of the book melds references to pop culture (Lili St. Cyr, Ted Jordan, striptease, Las Vegas) with the history of nuclear weapon testing in America (the Nevada Test Site, Operation Teapot: Moth). In Lili's Wedding Ruwedel plays a portrait of Lili in burlesque pose against a negative image of same, or how we might think of Lili -- or ourselves -- irradiated by a nuclear explosion. This image game continues with two two-page spreads of Ruwedel's own black and white prints, one showing the Las Vegas skyline in the distance, another the the Nevada Test Site. This is followed by reproductions a nuclear explosion and a reproduced color postcard which collages the Las Vegas landmark, the Pioneer Club, with a nuclear explosions mushroom cloud in the background."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

Includes digital photographs of the events and meetings relating to Stanford University, Residential Education, 2003-2018.

"Rick Moody's short story, 'Surplus Value Books #13,' is a character study of a particular bookseller. The story is told through the description of books for sale in a bookseller's catalog. Values are assigned to each item in the catalog according to the bookseller's inherent personal desire for each item. Themes of value, voyeurism and deceit are presented as a pathology of collecting through the multiple layering of information and the revealing of objects of desire that are contained in the collector's box."--Colophon.

• 1. Robert Smithson: Spiral jetty, 1970
• 2. Robert Smithson: Spiral jetty, 1970
• 3. Robert Smithson: Partially buried woodshed, 1970
• 4. Robert Smithson: Amarillo ramp, 1973
• 5. Michael Heizer: Double negative, 1969-1970
• 6. Michael Heizer: Double negative, 1969-1970
• 7. Michael Heizer: Effigy tumuli, 1983-1985
• 8. Michael Heizer: Effigy tumuli, 1983-1985
• 9. Robert Morris: Grand Rapids project, 1973-1974
• 10. Robert Morris: Untitled earthwork, 1979

"Ruwedel's long interest with Earthworks artist dates back to his undergraduate days at Kutztown State University. Later, while photographing geologically-informed landscapes for the "Report on Lake Bonneville" series, he began to notice the abandoned cuts into hillsides created for the laying of railroad track in the 19th century. As intentional markings upon the land they were similar in appearance to Michael Heizer's Earthwork piece, "Double Negative" (Nevada, 1969-1970). At the time Ruwedel was considering a larger "Earthworks" project that would encompass geologic earth markings, America's indigenous mound builders, the historic railroad hillside cuts, and the contemporary Earthworks artists. That particular notion eventually morphed into multiple projects: "Report on Lake Bonneville," "The Ice Age," "Westward: The Course of Empire" (the railroad epic), and various works documenting the Earthworks artists. The letterpress work was done by Lunar Caustic Press, Toronto (founded by Bill Morgan, a graduate of Ryerson Polytechnic Institute Arts, in 1983)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

Reminiscenses about the puppet shows and making the puppets, ca. 1956-1960.

Included with the personal memories are two memoirs by Gerda Isenberg of Gertrud Aronstein and Helmut Schneider, both of whom helped her get started but who are now no longer living. Also included is information about the Yerba Buena Foundation, 1989-1995, written by Bob Young and Betsy Clebsch.

"Dealing with America’s nuclear history, specifically his 'Italian Navigator' project, Nevada Test Site Scrapbook, The Conqueror (2012), and Typical American House (2011) demonstrate how Ruwedel cycles work from a particular historical and cultural investigation through varying manifestations. The scrapbook includes maps and satellite views of the Yucca Flat/Yucca Lake and Frenchman Flat/Frenchman Lake areas of the Nevada Test Site, now known as the Nevada National Security Site. Interspersed with Ruwedel's black and white and chromogenic prints of how the area looks today (including a scene of wooden benches from which spectators once observed nuclear explosions) are reproductions of the mushroom clouds from nuclear blasts. For more information on "The Italian Navigator" project, see The Italian Navigator (Montréal: ART 45, Stephen Bulger Gallery and Galerie François Paviot, 2000)."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

'"Myths' is based on portraits of people I have come to know in the streets of Peru's different urban and rural centers. Between us, we create images based in arcane mythologies and decorated with paraphernalia of their environment and popular culture." [Artist's statement]

"All prints are horizontal or vertical format 4 x 5 in. cyanotype contact prints on 9 1/2 x 13 1/8 in. sheets, with the location and date of each penciled in on bottom right of the sheet. Ruwedel’s souvenirs of Egypt are photos of modern and contemporary structures and facades where ancient Egyptian architectural motifs have been quoted, generally as Egyptian Revival Art Deco architecture from Canada and the U.S. But the book as “souvenir” also makes reference to 19th-century travel and expeditionary photographers using the cyanotype process, the notebook with its inserted pencil a reference to the note taking and sketching performed while on expedition. The turquoise pencil also functions as a souvenir, a reflection of the blue color of the cyanotype prints, the ancient Egyptian’s passion for using turquoise, and the common use of the color in Art Deco architecture and design."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

Consists of archival and digital photo prints of members of the Filipino and other Southeast Asian communities in the South of Market area of San Francisco. Many are signed and dated by the photographer.

The materials consist of eleven photographs by Sharon Stewart, signed and dated by the photographer. The photos are from two cultural landscape chronicles: "Exit West: A Cultural Confluence" and "El Agua es la Vida: A Village Life Portrait." From the former are the photographs Mora Valley from Chacon, St. Vrain Mill, Mora Past, Fiestas Rodeo, Los Trujillos, Indio at Pedro's Burial, Peregrinacion, and Deconstructed Adobe. From the latter are Tareas, Moving the Line, and Vidal and Luisa.

• 1. Fort Phil Kearney, Wyoming
• 2. Fetterman Massacre Site, Wyoming
• 3. Conner Battlefield Site, Wyoming
• 4. Reno-Benteen Battlefield Site, Montana
• 5. Custer Battlefield Site, Montana
• 6. West of Custer Battlefield Site, Montana

"This early portfolio picturing the Bozeman Trail, which ran from Virginia City, Montana to Fort Laramie, Wyoming (specifically sites related to ), marked the first time Ruwedel engaged in writing captions on his mounts. This harkens back to his interest in the 19th century U.S. Geological Survey photographers, such as Timothy O'Sullivan, and the manner in which illustrations were captioned in the Survey reports. It is also an indication of Ruwedel's interest in the Conceptual artists whose practices required the textual and photographic documentation of their works. The use of pencil captions on his mounted works continued as a consistent mark of his practice, their faint tracings similar to the faint visual markings he photographs in the landscape."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

• Michael Bishop: See saw, 1987, Ektacolor
• John Huddleston: Death Valley, 1987, Ektacolor
• Jack Welpott: Golden Gate Park, 1986, color coupler print
• Robert Dawson: San Luis Drain, Kesterson National Wildlife Refuge, California, 1985 (from the Great Central Valley Project), silver gelatin print
• Minnette Lehmann: Stick up, 1987, Ektacolor
• Dean Yeishin Oshiro: Untitled, 1987 (from the Interface Series), Ektacolor
• Leland Rice: Late nite in West Berlin, 1987 (from the Berlin Wall Series), cibachrome
• Nancy Connor: Untitled, 1986, silver gelatin print (matted)
• W. Brooke Gray: Untitled, 1986, color coupler print
• Christine Riedell: Shakespeare's garden, 1983, silver gelatin print (matted)
• Rod Laursen: Untitled, 1987 (from the Golden Gate Park Series), Ektacolor
• Dale Kistemaker: Pit stop, 1985 (from 24 Hours of LeMans), Ektacolor
• Edgardo L. Caballero: Untitled, 1982 (from the Swimmer Series), silver gelatin print
• George C. Berticevich: View of Moon Hill, near Yangshuo, Guangxi Province, China, March 1985, hand colored silver gelatin print (matted)
• Roger Minick: Untitled, 1987 (from the Urban Spring Series), Ektacolor

Portfolio of fifteen photographs by fifteen different photographers, using a variety of techniques. Subjects include landscapes, people, abstract images, and street scenes

• Robert Burns Close, Edinburgh / Dana Strout
• Shore Acres, Oregon-1985 / Harrison Branch
• Chair, Mount Desert, Maine-1985 / Fred Byrum
• Claudia / Richard Sullivan
• Stream / Nitza Luna
• Shells, number three / Gordon Mark
• Aspens, Alpine Loop, Utah / Jan Pietrzak
• Nude with pillow / Carolee Campbell
• Castle Combe, England / Dick Arentz
• Fall afternoon / Marshall L. Sowder.

Platinum and palladium photographic prints created by the members of the Platypus Group.

A group of original black-and-white prints from a series which were part of an exhibit organized by the Franklin H. Williams Caribbean Cultural Center African Diaspora Institute, New York, and published, in part, in a related monograph, "Africa's Legacy," in 1995. The photographs document communities of African descent in Peru and Brazil.

• Roger Minick, "Airstream at Monument Valley, Arizona," 1979 (from "Sightseer" series), black-and-white gelatin silver print (matted)
• Mark Klett, "Storm Clouds over Eastern Idaho, near Craters of the Moon," 1980 (photographed at the side of U.S. 20, about five miles East of Carey ID), black-and-white gelatin silver print
• Henry Wessel, "Tucson, Arizona," 1974, black-and-white gelatin silver print
• Harold Jones, "Baptism, Sabino Canyon," 1976 (photographed in Tucson AZ), black-and-white gelatin silver print
• Frank Gohlke, "Aerial View, Tulsa, Oklahoma," 1981 (from Tulsa International Airport mural commission), black-and-white gelatin silver print
• Tod Papageorge, "Burbank, California," 1973, black-and-white gelatin silver print
• Jim Alinder, "A Joy Forever, Roadside, Florida," 1974 (photographed at the side of an inland two-lane blacktop between Key West and Disney World), black-and-white gelatin silver print
• Nathan Lyons, "Untitled," 1968, 1969 (from Notations in Passing (1974); photographed in Vancouver BC and Los Angeles CA), black-and-white gelatin silver prints (matted)
• Robbert Flick, "East of Lancaster, along Highway 14, California, SV 044-81," 1981 (from "Sequential Views" series), black-and-white gelatin silver print
• Elaine Mayes, "Pegasus," 1972 (photographed on the New York Thruway I87), black-and-white gelatin silver print (matted)
• Barbara Crane, "Bus People," 1975 (from Baxter/Travenol Laboratories mural commission; photograph printed from negatives made in the vicinity of Chicago IL), black-and-white gelatin silver print
• Steve Fitch, "Dinosaur, Highway 40, Vernal, Utah," 1974 (from Diesels and Dinosaurs (1976)), sepia-toned silver print (matted)
• Michael Becotte, "Untitled," 1974 (from Space Capsule (1975); photographed on the northern East Coast), sepia and gold-toned gelatin silver print (matted)
• Michael Bishop, "Untitled," no. 74-1107, 1974 (photographed at the side of U.S. 1, Los Angeles CA), Ektacolor print (matted)
• Ken Brown, "Pink Trailer Tilt," 1976 (photographed near Cherokee NC), Ektacolor print (matted)
• Robert Fichter, "Air Power," 1979 (photographed in Tallahassee FL), black-and-white gelatin silver print with air-brushed color and rubber stamps (matted)
• Joel Sternfeld, "Exhausted Renegade Elephant, Woodland, Washington," 1979, Ektacolor print
• Victor Landweber, "S.N. Ward and Son Mobil Service, Pasadena CA," 1978 (photographed at the side of Highway 11), Cibachrome print (matted)
• Barbara Jo Revelle, "Untitled," 1981 (three photographs made in the vicinity of Chicago IL; one made in Los Angeles CA), Ektacolor print
• Robert A. Widdicombe, "Cadillac Ranch, Amarillo, Texas," 1979 (photographed at the side of U.S. 66), Ektacolor print

A portfolio of twenty photographers' images of American highways, streets and roadside attractions, dating from 1974-1981. The portfolio was compiled and published by Victor Landweber and his firm, Landweber/Artists, in 1982. Prints are in various photographic media and are signed by the photographers, with images measuring 16 x 20 inches or presented in museum-board mats measuring 16 x 20 inches. The prints are housed in individual folders imprinted with the artist's name. The portfolio is housed in a custom-designed solander case with a copy print affixed to its lid of a Dorothea Lange photograph known as "The Road West," which shows United States Highway 54 in southern New Mexico in 1938. An eight-page pamphlet accompanies the portfolio. It features a copy print of a Walker Evans photograph mounted on its cover that shows hitchhikers near Vicksburg, Mississippi in February 1936, a short story, "Records of a Travel-worn Camera," by James Richard Hugunin, a sequence of photographs by Nathan Lyons, an index to the prints, biographical data about the photographers, and a map that shows where the photographers were living and where each photograph was made

"This re-photographic homage to Walker Evans, shot in Ruwedel’s home town of Bethlehem, PA, was the research component of Ruwedel’s photography program degree requirements (Concordia University, MFA 1983). It also serves as an early marker indicating Ruwedel’s interest in the “documentary” and his inclination to pay homage to artists whose work he admires. Along with the print are a Champion road map of Allentown, Bethlehem and Easton, PA, and an Exxon road map of Pennsylvania. There are eleven red marker dots on the Bethlehem map indicating sites where Evans photographed in 1935, seven of which are outlined in blue indicating that Ruwedel also photographed at that location. A red marker line on 4th Street indicates the possible location of where Evans photographed a storefront window display. A red marker arrow points towards Easton, where Evans also photographed, and to New York City, from where Evans may have started his 1935 road trip. Bethlehem and Easton are outlined in red and blue marker on the Pennsylvania map."--Curator's comments by Peter Blank, Stanford Libraries Photography Curator (2018-2021)

This collection consists of approximately 1772 photographs taken by Mark Ruwedel. A wide variety of photographic processes are represented in the collection, including gelatin silver prints, cyanotypes, digital prints, color prints, artist books, Polaroid prints, print-on-demand books, inkjet prints, silkscreen, and mixed media.

• Olive tree Corfu 534, 1970 [horizontal image]
• Olive tree Corfu 114, 1970
• Olive tree Corfu 534, 1970 [vertical image]
• Olive tree Corfu 42, 1970
• Olive tree Corfu 527, 1970
• Olive tree Corfu 33, 1970
• Olive tree Corfu 19, 1970
• Olive tree Corfu 177, 1970
• Olive tree Corfu 127, 1970
• Olive tree Corfu 145, 1970

Portfolio of 10 gelatin silver prints of olive trees in Corfu, mounted on matboard

• S.W. [Sea Weed] 7, 1953
• S.W. 3, 1953
• S.W. 4, 1952
• S.W. 15, 1953
• S.W. 20, 1953
• S.W. 2, 1952
• S.W. 6, 1952
• S.W. 3, 1947
• S.W. 1, 1943
• S.W. 2, 1947
• S.W. 8, 1953
• S.W. 1, 1947
• S.W. 12, 1953
• S.W. 8, 1947
• S.W. 21, 1953
• S.W. 5, 1952
• S.W. 4, 1947
• S.W. 9, 1952
• S.W. 26, 1953
• S.W. 2, 1944

Portfolio of 20 gelatin silver prints of seaweed taken at Martha's Vineyard, mounted on matboard

• Juliet shadow caged, Chicago 1939
• Topological light forms, Chicago 1938
• Juliet with one peacock feather eye, Chicago 1938
• Molten Vesalius, Chicago ca. 1940
• Eyes, Chicago ca. 1941
• Twin forms, Chicago 1943
• Magnetic pattern, Chicago 1938
• Hieroglyphic body, Chicago 1942
• Fluid patterns, Chicago 1942
• Optical transformation, Chicago 1942
• Juliet in camouflage jungle, Chicago 1942
• Calligraphic light play, Cambridge ca. 1948.

• From the series, Cancellations / Thomas F. Barrow
• Homage to the Dada Constructivists / Van Deren Coke
• New Mexico / Bob D'Allesandro
• Friends, Light, and Plant / Helen Doroshow
• Untitled (The Lone Ranger) / Betty Hahn
• Self Portrait with Sandy / Cheri Hiser
• Little girl between cars / Alan Hoffman
• Old church at Taos / Ernie Knee
• Untitled (Reclining Woman) / Rolf Koppel
• Lava formation / Arthur Lazar
• Ivy / Wayne R. Lazorik
• Washington / Michael McLoughlin
• Edward Weston / Beaumont Newhall
• Larry's Suit / Anne Noggle
• Oddfellow's Eyes / Paige Pinnell
• Portrait from the land of enchantment / Meridel Rubenstein
• John Wood & Eric Renner, Santa Fe / Eric Renner
• Untitled (Umbrella) / Joan Sawyer
• American hero / Alex Traube
• Whoosis / Karen Truax
• From the sequence, Found memories transformed / Alisa Wells-Witteman.

Contains one print for each for twenty-one photographers. The portfolio was directed by Alex Traube, and produced by Andrew Smith and Paige Pinnell. Includes introductory texts by Beaumont Newhall and Henry Man Barendse.

Portfolio of artistic photographs depicting scenes from various California flea markets. Includes many portraits of vendors, often with emphasis upon their living conditions, their automobiles, their clothing fashions, and their goods for sale. Flea market locations are unidentified beyond California

In addition to the photographic prints there are related books, magazines, reviews, and clippings.

Includes images of Ballet Folklorico de Stanford, and Stanford Chicano Graduation, 1974-1976.

This is the last photograph taken of Lopez before he died. Lopez is in suit and tie, slightly smiling.

Original photographs are accompanied by biographical material and a set of photocopies duplicating the originals, with titles and dates added. There is a 1-page index to the collection in folder 1.

Portfolio of artistic, mostly black-and-white photographs, by the founding members of the Visual Dialogue Foundation. Each founding member is represented in the portfolio with the exception of Michael Harris

The five images come from these NASA explorations: 1. Viking lander, 1-3 August 1976, the surface of Mars (the meteorological boom supporting the lander's miniature weather station divides the photograph. -- 2. Lunar orbiter 2, 1967, Copernicus crater, 45 miles above the lunar surface. -- 3. Lunar orbiter 1, late 1960s, first view of earth from 730 miles above the dark side of the moon. -- 4. Mariner 10, 3 November 1973, photo-mosaic of Earth, from a probe enroute to Mercury and Venus using the earth for calibration purposes. -- 5. Unknown (most likely Ganymede), undated, satellite of Jupiter from a Voyager spacecraft.

A 1966 photograph album with forty (40) original black & white photographs documenting US military contractors touring a locomotive manufacturing factory at the height of the military industrial complex involvement in the Vietnam War. A rare collection of vintage vernacular Vietnam War era photos showing American contractors touring an unidentified locomotive factory (probably in South Korea or Japan.) RMK-BRJ Contract NBy-44105 was a private military assistance contract for the Vietnam War. Instead of using the Army Corps of Engineers like in all prior wars, the U.S. Government hired a small group of private contractors to build large scale military infrastructure in South Vietnam, establishing the mass privatization of military functions that exist today. This group was called RMK-BRJ and consisted of Raymond International, Morrison-Knudson International, Brown & Root, and J.A. Jones Construction Company. This little known private consortium became the sole contractor for the federal government for construction projects in Vietnam. RMK-BRJ went on to build all of the sea ports, military bases, roads, and airfields from the Demilitarized Zone in the north to Da Nang and the Mekong Delta in the south. This joint venture was terminated when the war ended, however, all four of these highly profitable companies continue operating as US military defense contractors today. [From dealer description]

This report gives information on the suitability of the proposed Camp Ryan Job Corps site at Cow Creek, including cost of restoration and weather statistics.

Primarily manufacturing images relating to the work of Robert C. Hall at Fairchild Semiconductor; also some failure analysis photos. There are also some historical reports from the 1960s relating to the work of G. Tripp and J.H. Friedrich.

The 4 x 5 black and white prints, nd, are taken of Janet by Robert R. Krones.

Images, which are identified by Pettit, include the fairgrounds where the show was held, company exhibits, and various electronic instruments.

The collection documents executive employees, sales force, fabrication facilities, and products of Fairchild Semiconductor. The vast majority of the collection is comprised of photographs, negatives, and slides dating from 1962-1987. There is a small amount of textual material.

The film, in Spanish, is "made from still photographs as an organizing tool for the United Farm Workers. The film-maker combines his photogrpahs with the sounds of the movement: from the march to Sacramento, through Cesar's fast, to the union label on a grape box." [from promotional brochure].