it seems simplistic and arbitrary to exclude volu-
metric items merely because the archival tradition
assumes flatness.
Conclusion
The essence of museum and archival collections is
their emphasis on primary source materials. Con-
ventional libraries collect mass-produced, second-
ary materials, rather than unique or original items,
although most libraries also contain some rare
items and some libraries specialize in rarities.
Photographic collections in libraries may serve as
primary source materials, and they have the advan-
tage of facilitating immediate subject access to
materials unrelated by provenance, introducing
insights that may not be available in archival, self-
selected collections. Photographs often function as
primary source materials, although it must be
admitted that this is a relative thing. Some photo-
graphs, especially photographs of objects that are
still extant in approximately the same state as their
photographs indicate, may function as secondary
source materials. Archives, with their emphasis on
aggregates and accumulations of related materials,
provide a valuable service for those who require an
extensive study of related photographs.
DAVIDHaberstichSeealso:Art Institute of Chicago; Black Star; Cen-
ter for Creative Photography (Tucson); Conde ́Nast;
Conservation; Corbis/Bettmann; Farm Security Ad-
ministration; Jones, Harold; Library of Congress;
Magnum Photos; Museums; Museums: Europe; Mu-
seums: United StatesFurther Reading
Betz, Elisabeth, comp.Graphic Materials: Rules for Describ-
ing Original Items and Historical Collections. Washing-
ton, DC: Library of Congress, 1980.
Burke, Peter.Eyewitnessing: The Uses of Images as Histor-
ical Evidence. Ithaca, NY: Cornell University Press, 2001.
Derrida, Jacques.Archive Fever: A Freudian Impression.
Chicago: University of Chicago Press, 1998.
Eskind, Andrew, and Deborah Barsel. ‘‘International
Museum of Photography: Conventions for Cataloging
Photographs.’’Image21 (1978), 1–31.
Fox, Michael J., Peter Wilkerson, and Suzanne R. Warren, eds.
Introduction to Archival Organization and Description: Access
to Cultural Heritage. Getty Information Institute, 1998.
Jones, H.G., ed.Historical Consciousness in the Early Repub-
lic:TheOriginsofStateHistoricalSocieties,Museums,and
Collections, 1791-1861, North Carolina Society, 1995.
Muller, S., J.A. Feith, and R. Fruin.Manual for the
Arrangement and Description of Archives. Trans. of sec-
ond edition, Arthur H. Leavitt, Chicago: Society of
American Archivists, SAA Classics Series, 2003.
Ritzenthaler, Mary Lynn, Gerald J. Munoff, and Margery
J. Long. Archives & Manuscripts: Administration of
Photographic Collections, SAA Basic Manual Series,
Chicago: Society of American Archivists, 1984, Revised
edition, 1999.
Schellenberg, T.R.,Modern Archives: Principles and Prac-
tice, Chicago: SAA Classics Series, Society of American
Archivists, 2003.
Sekula, Allan. ‘‘The Body and the Archive.’’October 39
(Winter 1986), 3–64.
Shaw, Renata V. ‘‘Picture Organization: Practice and Pro-
cedures, Parts 1 and 2.’’Special Libraries63:10 and 11
(1972): 448–56, 502–06.EVE ARNOLD
American
Driven by simple curiosity and a love of the unpre-
dictability of photography, Eve Arnold helped
shape photojournalism in the latter half of the
twentieth century. Part of the Magnum Photos
stable, Arnold took still photographs for magazine
and newspaper assignments, advertising cam-
paigns, and films. In choosing her photographs,
Arnold asked herself if the subject was visual and
if words would enhance the picture. Rather than
selecting the sensational, Arnold let the subject
dictate the treatment, angle of approach, and
point of view. Describing her vision, she stated
that if a topic interested her then she believed that
she could make it interesting to others. Her aim has
been to hold a mirror up to the world and make
people aware of the human condition.
Arnold became involved in photography in 1943
through a position as a manager at a photo-finish-ARCHIVES