Collecting area: Visual culture

Maida Leonard Riggs, class of 1936, taught women’s physical education at UMass before shifting to teacher preparation. Riggs was a beloved member of the UMass faculty for 28 years before her retirement. An adventurous spirit took Riggs around the globe: to Europe with the Red Cross during World War II; as a bicycling tour leader after the war; on a trek across Nepal at age 62; to Russia, China, Japan, Australia, New Zealand, and Uzbekistan. After retiring, Riggs, a self-described compulsive traveler, embarked on a more personal journey to explore her roots. Riggs transcribed more than 250 letters by her pioneer great-grandmother, Mary Ann Clark Longley, and published them under the title A Small Bit of Bread and Butter: Letters from the Dakota Territory, 1832-1869, an absorbing and sometimes heartbreaking account of life on the frontier. An avid photographer, Riggs took advantage of any opportunity to use her camera. These images, particularly from World War II, tell as many stories as do her correspondence. Her memoir, Dancing in Paratrooper Boots, contains typed copies of her letters from her days as a Red Cross volunteer during the war.

The Riggs Papers are a rich documentary history of the World War II era, both in America and Europe, as well as an engrossing study (in transcripts) of the American frontier. Included with extensive correspondence and photographs are published and unpublished prose, and Lovingly, Lucy: Vignettes of a Pioneer Woman’s Life, an essay on Riggs’s paternal grandmother, Lucy Dodge Riggs. Additional items in the collection include handwritten journals, one detailing a trip to China and Japan in 1982, and Riggs’s photographs of young children at play taken for her book on child development, Jump to Joy: Helping Children Grow Through Active Play. Riggs also took her genealogical research seriously, meticulously charting her family’s 1638 immigration from England to Massachusetts. With camera in hand, she later traveled to England in search of more evidence of the Longleys’ English roots.

Born in Germany on Aug. 4, 1934, Hans Joachim Ring was a film enthusiast with an encyclopedic knowledge of German cinema. During the Second World War, movie theatres became a refuge for the young boy, whose family was forced several times to flee due to Allied bombing. The hardships of post-war life cemented the role of film in his life and as he grew older, he became an ardent collector of materials relating to film.

The Ring Collection includes hundreds of programs, fliers, and handbills published by the official East German film distributors Progress Film-Vertrieb and the Deutsche Film Aktiengesellschaft (DEFA) and sold to patrons at theatres. This extraordinary assemblage includes several hundred programs covering the immediate post-war period (1945-1950) and hundreds more relating to films released up to and beyond the end of the Communist era. Offering insight into the evolution of graphic design in East Germany and the marketing of film, the collection is one of the largest of its kind in the United States.

The protistologist Hope T. Ritter (1919-2007) is recognized for his important research on the evolution of mitosis. A native of Allentown, Pa., Ritter received his doctorate at Lehigh University in 1955 for a study of the gut fauna in a subterranean termite. Building on this research during the 1950s, he became the first scientist to successfully culture Barbulanympha, a hindgut flagellate symbiont of the wood-eating cockroach Cryptocercus, which has since become a model organism for study of the evolution of mitosis. After teaching at Harvard (1957-1961) and SUNY Buffalo, Ritter moved to the University of Georgia in 1966, where he remained until his retirement from teaching in 1987.

The Ritter Papers contain valuable professional correspondence, lab notebooks, and a large number of electron micrographs documenting his research.

A producer, performer, writer, and pioneer in Americana music, Jim Rooney was born in Boston on January 28, 1938 and raised in Dedham. Inspired to take up music by the sounds of Hank Williams and Leadbelly he heard on the radio, he began performing at the Hillbilly Ranch at just 16 years old, taking to music full time after an undergraduate degree in classics at Amherst College and an MA at Harvard. As manager of Club 47, Rooney was at the epicenter of the folk revival in Boston, becoming director and talent coordinator for the Newport Folk Festival beginning in 1963, a tour manager for jazz musicians in the late 1960s, and by 1970, a producer. After managing Bearsville Sound Studios in Woodstock, NY, for Albert Grossman, he moved to Nashville, where he has produced projects by Hal Ketchum, Townes Van Zandt, Iris DeMent, John Prine and Bonnie Raitt, among others, winning a Grammy award in 1993 for his work with Nanci Griffith.
Documenting a varied career in American music, the Rooney collection contains material from two of Rooney’s books on the history of American music, Bossmen: Bill Monroe and Muddy Waters (1971) and Baby, Let Me Follow You Down (1979), his autobiography In It For the Long Run (2014). In addition to correspondence and other content relating to his collaborations with key Americana musicians and his record production career in Nashville, the collection includes valuable interview notes, photographs, recordings, and news clippings.

A long-time member of the English Department at the University of Albany, Barbara Rotundo was a 1942 graduate in economics at Mount Holyoke College. After the death of her husband, Joseph in 1953, Rotundo became one of the first female faculty members at Union College, and after earning a master’s degree in English at Cornell University and a doctorate in American Literature from Syracuse University, she served as an associate professor of English at the University of Albany, where she founded one of the first university writing programs in the United States. Avocationally, she was a stalwart member of the Association for Gravestone Studies, helping to broaden its scope beyond its the Colonial period to include the Victorian era. Her research included the rural cemetery movement, Mount Auburn Cemetery, white bronze (zinc) markers, and ethnic folk gravestones. Her research in these fields was presented on dozens of occasions to annual meetings of AGS, the American Culture Association, and The Pioneer America Society. In 1989, after residing in Schenectady for forty-six years, she retired to Belmont, NH, where she died in December 2004.

Consisting primarily of thousands of color slides (most digitized) and related research notebooks, the Rotundo collection is a major visual record of Victorian grave markers in the United States. The notebooks and slides are arranged by state, with an emphasis on the eastern states, and white bronze (zinc) markers also are represented in photographs and a separate research notebook. The collection also includes several rare or privately published books.

Emanuel Rubin was a professor of Musicology and Judaic Studies at UMass Amherst from 1986 until his death in 2008. From 1986-1987 he served as Head of the Department of Music and Dance. In addition to teaching, he performed frequently as a soloist and an ensemble member on the French horn, Viola da Gamba, and as a choral member. He actively conducted and composed works for solo performers and ensembles. Rubin was originally from Pittsburgh, and attended Carnegie Mellon University for his undergraduate work. He received a Master’s Degree in Music composition from Brandeis University, and a doctorate in musicology from University of Pittsburgh. Prior to arriving at UMass Amherst, he taught at Ball State University, University of Milwaukee Wisconsin, and Bowling Green State University. His research interests were the relationship between Judaism and music, and the history of glees, which was the topic of his doctoral dissertation.

The Emanuel Rubin Papers contain records of extensive research in the area of Georgian glees, including historical background, scores, lyrics, and correspondence regarding the research. The collection also includes programs and newspaper clippings from many of Rubin’s performances throughout his career, manuscripts of his publications and compositions, as well as some teaching materials and course information from his time at UMass.

Jerry Russo is a documentary filmmaker and photographer based in Boston, Massachusetts. Educated at Tufts University and The School of the Museum of Fine Arts Boston, Russo’s photographs have been exhibited at a variety of galleries in the Boston area and New York City. In 2023, he completed artist residencies in Cape Ann and Provincetown, Massachusetts. When Russo describes his intention as a photographer, he identifies his primary goal as being “as sincere and empathetic as possible … [to be]  a kind observer of the world around me. I’ve always lived my life intensely soaking up the environment with a non-judgmental (but truthful) eye and using my images as a reflection of that.” 

In March of 2020 at the start of the COVID-19 pandemic, Russo began working on an oral history project to interview visual artists and creatives all over the world. During the next two years, he completed 249 interviews via Zoom. In the interviews he captures the artists’ thoughts on wide range of topics and themes including living and working during the pandemic with its enforced solitude and lockdown; the ways in which the pandemic has had an impact on their creative process, shifts in narratives, and use of materials; and whether the work they created referenced the pandemic, the Black Lives movement, or politics in the U.S.  

In the summer 1962, future Harvard student Steve Saltonstall became one of the early wave of white northerners who went into the Jim Crow south to work for civil rights. During that summer, he worked with SNCC to organize public accommodations in Cairo, Ill., and with an AFSC crew to help clear brush from a drainage ditch near Circle City, Missouri, encountering local resistance in both places. Saltonstall later became an attorney and currently practices in Vermont.

The Saltonstall collection consists of approximately sixty photographs taken by John Engel during his tour with an AFSC crew during the summer of 1962. While most of the images depict the crew’s work near Circle City, Missouri, six photos document a civil rights rally in Cairo, Ill. The images are available in digital form only.

At the turn of the twentieth century, Albert Sawin and his wife Elizabeth (nee Young) lived on Taylor Street in Holyoke, Massachusetts, with their three children, Allan, Ralph, and Alice. Elizabeth’s brother, also named Allan, traveled in the west during the 1880s, looking for work in Arizona, Utah, and Montana.

The bulk of the Sawin-Young Family Papers consists of letters exchanged between Elizabeth “Lizzie” Sawin, her sisters, and Jennie Young of nearby Easthampton. Later letters were addressed to Beatrice Sawin at Wheaton College from her father Walter E. Sawin, who contributed to the design for the Holyoke dam. The photograph album (1901) kept by Alice E. Sawin features images of the interior and exterior of the family’s home, as well as candid shots of family and friends and photographs of excursions to nearby Mt. Tom and the grounds of Northfield School.

One of the most frequently published photographers in Life magazine during the late 1960s, Rowland Scherman is noted for an iconic portfolio that documents the worlds of politics, culture, and the rock music scene. Born in New York in 1937, Scherman attended Oberlin College and began his career in the darkroom at Life before winning an assignment as the first official photographer for the Peace Corps in 1961. His work blossomed after becoming a free-lancer two years later, with assignments that included the civil rights March on Washington and the presidential campaign of Lyndon Baines Johnson. He covered the Newport Folk Festival when Bob Dylan broke on the national scene, the Beatles’ first concert in the U.S., Robert Kennedy’s campaign for the presidency, and Woodstock, and he went along on a memorable tour with Judy Collins. His work has appeared in dozens of magazines and books, including Life, Look, Time, National Geographic, Playboy, and Paris Match, earning wide acclaim, including a Grammy Award in 1968 for the portrait that appears on the cover of Dylan’s greatest hits album. Scherman relocated to London in 1970, then to Birmingham, Ala., in the 1980s, and finally to Cape Cod on 2000. He continues to shoot portraits, photo essays, and abstract work.

This rich collection consists of nearly the entire body of work from Rowland Scherman’s long career in photography, including negatives and transparencies with a small selection of prints. Negatives from the March on Washington and the Peace Corps are in the collections of the Library of Congress.