Exhibition: ‘Baldwin Lee’ at the Ogden Museum of Southern Art, New Orleans

“Baldwin Lee grounds his figures in the history and culture of the American South, its Black history, its joy and impoverishment.” Dr Marcus Bunyan

Exhibition dates: 5th October, 2024 – 16th February, 2025

Curator: Richard McCabe, Ogden Museum Curator of Photography

Baldwin Lee (Chinese-American, b. 1951) 'Untitled' 1983-1989 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Vintage gelatin silver print
16 x 20 inches
Collection of the artist, Courtesy of Howard Greenberg Gallery

“A good image is created by a state of grace. Grace expresses itself when it has been freed from conventions, free like a child in his early discovery of reality. The game is then to organise the rectangle.”

Chilean photographer Sergio Larraín Echeñique

figure ground

I have written previously on the excellent work of the Chinese-American photographer Baldwin Lee in his eponymously named exhibition at Joseph Bellows Gallery in 2022. Since then I have spent further time with his photographs, specifically during recent research for my posting on the exhibition A Long Arc: Photography and the American South since 1845 at the Virginia Museum of Fine Arts, Richmond (October 2024 – January 2025) and then again for this posting.

There are more photographs in this posting from Lee’s journey of discovery through the American South in the 1980s photographing Black communities with this 4 x 5 view camera, a journey that was as much a revelation for the people of those communities (literally, shining a light on their existence) as it was for the photographer himself (a self-reflective understanding of what was important to the photographer, discovering his subject).

“The process I adopted in successive road trips during my seven-year project involved splitting time between revisiting places I had previously photographed and seeking out new locations. The families who lived on this street in Rosedale, Mississippi, knew me from prior visits. Children were always thrilled at my arrival, and they delighted in taking turns shrouding their heads under my black focusing cloth that allowed them to peer at the dim image projected on the ground glass of my view camera.” (Text from the Guardian website)

This is what is so important about Baldwin Lee’s photographs. He grounds the figures in his photographs in the glass of his large format camera (standing proud) even as he grounds his figures in the history and culture of the American South, its Black history, its joy and impoverishment. As he himself says, his photographs are “personal stories about events that are momentous”, events in the lives of the participants inflected by how the photographer approaches his subject matter, how he interacts with what is in front of him, influenced by his own history of growing up a Chinese-American and by what he had already thought and felt about the subject, the American South.

Lee’s pictorial compositions, his “photographic seeing” (John Szarkowski’s phrase) is concerned with a felt response to a visual problem… how to conceive a cogent, empathetic picture structure both choreographically and visually. Adapting Szarkowski we could say that in Lee’s photographs the relationship of figure to figure is as centrally important as the relationship of figure to ground and frame.

Here is compassion, here is empathy, here is focus, stillness, culture, humanity. Here is a “state of grace” existing between the mind and feelings of the photographer and the organisation of the people and stories within the image… so much so that there is often a “revelation of spirit” in the subsequent prints by Lee (after Minor White, one of Baldwin Lee’s teachers).

Thus, Lee’s photographs show an impeccable “balance” in the image between figure and ground (touching the earth) – whether that be compositionally, emotionally or historically.

Dr Marcus Bunyan

Many thankx to the Ogden Museum of Southern Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Baldwin Lee (Chinese-American, b. 1951) 'Natchez, Mississippi' 1984 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Natchez, Mississippi
1984
Vintage gelatin silver print
16 x 20 inches
Collection of the artist
Courtesy of Joseph Bellows Gallery

Is there an image of yours that stands out or is a favourite?

“As I rounded a corner several miles north of Natchez, Mississippi, a stunning sight – a brilliant pink stucco house framed by a blooming wisteria arbor caused me to pull over. I was compelled to knock on the door and found myself and Mr. and Mrs. Fulton, an elderly black couple standing in the cramped dimly lit kitchen whose illumination came from a bare-bulb hanging from the ceiling. Pushed up against a tattered refrigerator was a Formica table upon which provided a foundation for structure made of Kellog Cornflakes boxes. Each box bore a photograph of a beaming face. Boneheadedly I asked Mrs. Fulton if she liked cornflakes. With her gaze lowered she replied no. She then told me she disliked taking meals by herself now that her children had grown and gone.”

Anonymous. “Baldwin Lee,” on the PhotoWork Foundation website Nd [Online] Cited 06/01/2025

Curated Conversation with Baldwin Lee

On Saturday, October 5, Ogden Museum of Southern Art celebrated the opening of “Baldwin Lee” with a free Curated Conversation.

Taking place in the Museum’s historic Patrick F. Taylor Library, Prospect New Orleans’ Director of Curatorial Affairs, Andrew Rebatta, and photographer Baldwin Lee engaged in a lively conversation celebrating “Baldwin Lee,” a landmark solo exhibition at Ogden Museum of Southern Art highlighting Lee’s work.

Lee shared stories from his 5 decade career as a student, educator and practicing artist. Topics of discussion include Lee’s formal education with Minor White and Walker Evans (two of the 20th centuries’ most influential photographers) and his 1980s journey of self-discovery photographing the American South – which resulted in making nearly 10,000 photographs and producing one of the most important visual documents of and about the American South in the past half century.

Baldwin Lee (Chinese-American, b. 1951) 'Columbia, South Carolina' 1984 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Columbia, South Carolina
1984
Vintage gelatin silver print
16 x 20 inches
Collection of the artist, Courtesy of Howard Greenberg Gallery

‘Dusty streets and bare feet coexist alongside the South Carolina Statehouse on Gervais Street. A short focal length lens emphasised the difference in scale between the foreground and background figures. An archaic flash bulb, a sealed glass orb containing spun magnesium and pure oxygen, ignited during the exposure illuminating the children closest to the camera. It was positioned higher than the camera and to its right’

Text from The Guardian website

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951) 'Montgomery, Alabama' 1984 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Montgomery, Alabama
1984
Vintage gelatin silver print
16 x 20 inches
Collection of the artist
Courtesy of Joseph Bellows Gallery

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951) 'Monroe, Louisiana' 1985 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Monroe, Louisiana
1984
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951) 'Vicksburg, Mississippi' 1984 from the exhibition 'Baldwin Lee' at the Ogden Museum of Southern Art, New Orleans

Baldwin Lee (Chinese-American, b. 1951)
Monroe, Louisiana
1983
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Montgomery, Alabama
1984
Gelatin silver print
16 x 20 inches
Collection of the artist

‘Southerners savour the sweetness and solace that comes at the end of searingly hot summer days at twilight. The quiet ushers in a deep peace. The other side of tranquility and beauty is ominousness and menace. The viewers of this photograph are invited to interpret its meaning. If there is an inclination toward wholeness this is a scene of contentment. Southerners approach this image with caution. Black southerners would probably not gather so publicly for fear of retributive reactions. White southerners probably have their own reasons to meet’

Text from The Guardian website

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Vicksburg, Mississippi
1983
Gelatin silver print
20 x 16 inches
Collection of the artist

Baldwin Lee was born in Brooklyn, New York and raised in Manhattan’s Chinatown. He studied photography at the Massachusetts Institute of Technology (M.I.T.) with photographer Minor White. Later, he would receive an MFA from Yale School of Art, where he studied with photographer Walker Evans. In 1982, Lee became the first Director of Photography within the Art department at the University of Tennessee. The following year, he set out from Knoxville with a 4 x 5 view camera on a journey of self-discovery photographing his adopted homeland – the American South.

Lee’s artistic goal was to partially re-trace and re-photograph the 1930s-40s routes made across the South by his mentor Walker Evans. Unlike Evans’ iconic depression-era photographs, Lee would eventually focus on documenting Black Americans, many of whom were living in poverty on the fringes of society. Over the next seven years, Lee traveled thousands of miles crisscrossing the South, making nearly 10,000 photographs – producing one of the most important visual documents of and about the American South in the past half century.

With this work, Lee had found his primary subject, and credits his many years of working within Black communities throughout the South as having a “political” effect on his life and art. The compassion Lee felt for those he photographed resonates within his work. Although, Lee’s 1980s photographs were known and respected by his fellow photographers and collectors, until recently this work has remained largely unknown and under-appreciated by a wider public.

In the fall of 2022, Hunter’s Point Press published “Baldwin Lee,” a book consisting of the artist’s 1980s Southern photographs. The book has since become an instant classic and was shortlisted as one of the best photo books of 2022 by “Aperture Magazine,” “TIME” and the International Center for Photography. The first edition of “Baldwin Lee” sold out in less than a month and is presently on its third edition of publication. The book’s success led to solo exhibitions at Howard Greenberg Gallery, New York City, Joseph Bellows Gallery, La Jolla, California and David Hill Gallery, London, England. After nearly 40 years, Baldwin Lee is finally being recognized for his groundbreaking work.

The exhibition Baldwin Lee will feature a selection of over 50 gelatin silver prints culled from thousands of images Lee made across the South in the 1980s. Many of these photographs will be exhibited for the first time. The exhibition will include compelling portraits of Black Americans, as well as a collection of landscape, cityscape and still-life images that visually encapsulate the Reagan-era American South.

Text from the Ogden Museum of Southern Art website

Baldwin Lee (Chinese-American, b. 1951)
Lakeland, Florida
1984
Vintage gelatin silver print
16 x 20 inches
Collection of the artist
Courtesy of Howard Greenberg Gallery

Baldwin Lee (Chinese-American, b. 1951)
Richmond, Virginia
1986
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Vicksburg, Mississippi
1984
Gelatin silver print
16 x 20 inches, Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Waterproof, LA
1986
Gelatin silver print
16 x 20
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Lula, Mississippi
1984
Vintage gelatin silver print
16 x 20 inches
Collection of the artist
Courtesy of Joseph Bellows Gallery

Baldwin Lee (American, b. 1951) 'Nashville, Tennessee' 1983

Baldwin Lee (Chinese-American, b. 1951)
Nashville, Tennessee
1983
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951) 'Plain Dealing, Louisiana' 1985

Baldwin Lee (Chinese-American, b. 1951)
Plain Dealing, Louisiana
1984
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951) 'Mobile, Alabama' 1983

Baldwin Lee (Chinese-American, b. 1951)
Mobile, Alabama
1985
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (American, b. 1951) 'DeFuniak Springs, Florida' 1984

Baldwin Lee (Chinese-American, b. 1951)
Defuniak Springs, Florida
1984
Gelatin Silver Print
16 x 20 inches
Collection of the Artist

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Rosedale, Mississippi
1984
Archival pigment print
40 x 50 inches
Collection of the artist

‘The process I adopted in successive road trips during my seven-year project involved splitting time between revisiting places I had previously photographed and seeking out new locations. The families who lived on this street in Rosedale, Mississippi, knew me from prior visits. Children were always thrilled at my arrival, and they delighted in taking turns shrouding their heads under my black focusing cloth that allowed them to peer at the dim image projected on the ground glass of my view camera. They were more than eager to arrange themselves for this photograph’

Text from The Guardian website

Baldwin Lee (Chinese-American, b. 1951) 'Valdosta, Georgia' 1984

Baldwin Lee (Chinese-American, b. 1951)
Valdosta, Georgia
1985
Archival pigment print
40 x 50 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Chattanooga, Tennessee
1983
Vintage gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Untitled
1983-1989
Gelatin silver print
16 x 20 inches
Collection of the artist

Baldwin Lee (Chinese-American, b. 1951)
Rosedale, Mississippi
1985
Gelatin silver print
16 x 20 inches
Museum Purchase with Funds Provided by The Charles D. Urstadt Chairman Emeritus Acquisition Fund

Baldwin Lee (Chinese-American, b. 1951)
Walls, Mississippi
1984
Gelatin silver print
16 x 20 inches

Ogden Museum of Southern Art
925 Camp Street, New Orleans, LA

Opening hours:
Monday: 10.00am – 5.00pm
Tuesday: 10.00am – 5.00pm
Wednesday: 10.00am – 5.00pm
Thursday: 10.00am – 5.00pm
Friday: 10.00am – 5.00pm
Saturday: 10.00am – 5.00pm
Sunday: 10.00am – 5.00pm

Ogden Museum of Southern Art website

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Exhibition: ‘Power & Light: Russell Lee’s Coal Survey’ at the National Archives Museum, Washington

“In looking through the body of work I feel what is envisioned by the photographer in his images is a wonderful empathy for the miners and their families in the situation of their becoming.” Dr Marcus Bunyan

Exhibition dates: 16th March, 2024 – 6th July, 2025

Curator: Alice Kamps

Russell Lee (American, 1903-1986)
Mrs. Manuel Alcala and son in corner of their kitchen. The family lives in company housing project for miners. National Fuel Company, Monarch Mine, Broomfield, Boulder County, Colorado
July 2, 1946
National Archives
Public domain

The history of today and every day

Continuing Art Blart’s support of photographers with a social conscience, this latest posting complements recent postings on the exhibitions Miners’ Strike 1984-85, and Roger Mayne: Youth. In the United States of America this type of attuned social documentary photography has a long history, both prior to and after Russell Lee’s photographs were taken.

From Danish-American social reformer Jacob Riis’ who used his “photographic and journalistic talents to help the impoverished in New York City” to the famous American sociologist and photographer Lewis Hine whose images “were instrumental in bringing about the passage of the first child labor laws in the United States”, onward to the work of the photographers employed by the Farm Security Administration / Office of War Information (FSA / OWI) between 1935-1944,* (notably Dorothea Lange, Walker Evans, Jack Delano, Russell Lee, Marion Post Wolcott) which “form an extensive pictorial record of American life” … and thus to these photographs taken by Russell Lee just after the end of the Second World War. Lee’s photographs were then followed by Gordon Parks‘ photographs of racial intolerance, Marion Palfi‘s photographs of American injustice, Milton Rogovin‘s photographs of “the forgotten ones” and, more recently, James Nachtwey‘s photographs of drug use in America. Of course, there are many other photographers who could be mentioned.

It has been a fascinating journey to engage with over 1000 of Russell Lee’s Coal Survey photographs that are available in the National Archives Catalog to try to fully understand the vision of this artist during the 1946 project picturing miners in their homes, mines, and communities. “Lee provided the photographs for the study which included 90 communities in 22 states… Over the course of the survey, Lee took over 4000 photographs, more than 200 of which are included in the exhibit.”

As with any large of body of work the quality of the photographs varies incredibly – some poor, others prosaic, some insightful, others powerful portraits, some dynamic, others occasionally revelatory. This is only to be expected. In the selection in this posting I have chosen what I think are the best photographs from the 1000 photographs available online. Please note, these photographs are not necessarily in the exhibition.

In looking through the body of work I feel what is envisioned by the photographer in his images is a wonderful empathy for the miners and their families in the situation of their becoming. What Lee pictures are communities that support each other but which are under stress.

Having worked through the Second World War to aid the American war effort, men and women were hard at work in a dangerous job, the families were living in run down houses owned by the coal mining companies, were buying food at the company store, were borrowing money on their earnings from the company to survive and living a subsistence life – having the minimal resources necessary for survival, having just enough food or money to stay alive. Rickety wooden houses with no running water [The only houses with running water inside in this camp are those in which their tennants [sic] have made the installations at no expense to the company], dead animals in streams where water is gathered, roofs lined with newspaper, children with no shoes, men holding serpents praying to an unseen god.

I believe that Lee’s most powerful photographs in the project are the images of the miners at work. There is an intimate directness to these photographs of working men and women. Nothing extraneous, nothing superfluous, just an honest directness picturing their everyday lives, in tiredness, laughter, and desperation.

In these photographs of miners we can see that Lee loved his diagonals, horizontals and verticals in the construction of the image plane. Right to left diagonals in J. M. Hawkins (left) former pharmacists mate in the U.S. Navy and Wm. Smith, former Marine, read notice on the bulletin board at the mine (July 9, 1946, below) and Women pick foreign matter out of coal (July 9, 1946, below); left to right diagonals in Miners boarding buses which will take them to washhouse from lamp house where they have checked out (August 20, 1946, below) and Miners checking in at the lamp house at completion of morning shift (August 22, 1946, below); and verticals in James Robert Howard has gotten his safety lamp at lamp house (August 13, 1946, below).

My two favourite photographs in the posting are both crackers. Firstly, Miners waiting at drift mouth for the afternoon man trip. Koppers Coal Divison, Kopperston Mines, Kopperston, Wyoming County, West Virginia (August 22, 1946, below) in which the languid easiness of the men’s postures are perfectly assimilated within the structure of the buildings and rocks to form an almost Renaissance tableaux of figures. And secondly, Miners bring in their checks and see the sign that there is no Saturday work. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky (September 13, 1946, below) in which the languorous flow of bodies moves as in the stillness of a quietly flowing river, revealing a reversed “N” and misspelt “to-morrow” as if the morrow will bring more heartache.

What clarity of vision, what panache in the execution of that vision. You could only wish to be such an accomplished artist taking pictures of the history of yesterday that still have relevance today and every day.

Dr Marcus Bunyan

View Russell Lee’s Coal Survey photographs on the National Archives website.

* FSA photographers: Arthur Rothstein (1935), Theodor Jung (1935), Ben Shahn (1935), Walker Evans (1935), Dorothea Lange (1935), Carl Mydans (1935), Russell Lee (1936), Marion Post Wolcott (1936), John Vachon (1936, photo assignments began in 1938), Jack Delano (1940), John Collier (1941), Marjory Collins (1941), Louise Rosskam (1941), Gordon Parks (1942) and Esther Bubley (1942)
* OWI photographers: David Bransby (1942), John Collier (1943), Marjory Collins (1943), Jack Delano (1942-1943), Howard Hollem (1941-1943), Fenno Jacobs (1942), Alfred Palmer (1941-1943), William M. Rittase (1942), John Rous (1941), Mark Sherwood (1942), Arthur Siegel (1942), John Vachon (1942-1943), Miscellaneous photographers (Jack Downey, Andreas Feininger, unidentified)

Many thankx to the National Archives for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs have been digitally cleaned and balanced by Marcus Bunyan. Please note the photographs in this posting are not necessarily in the exhibition.

“I’m taking pictures of the history of today.”

Russell Lee

Russell Lee (American, 1903-1986)
The Sergent Family on their front porch. Reading from L. to R., Franklin D., Louis, Lucy, Mr. Blaine Sergent, Bobbie Jean, Mrs. Sergent, Wanda Lee and Donald. Mr. and Mrs. Sergent have two married sons living nearby, Rufus, who lives next door and is a coal cutter in the same mine and Junior who lives and works at Verda Mine several miles away. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky
September 15, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
The Sergent Family on their front porch. Reading from L. to R., Franklin D., Louis, Lucy, Mr. Blaine Sergent, Bobbie Jean, Mrs. Sergent, Wanda Lee and Donald. Mr. and Mrs. Sergent have two married sons living nearby, Rufus, who lives next door and is a coal cutter in the same mine and Junior who lives and works at Verda Mine several miles away. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky (detail)
September 15, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
The Blaine Sergent family’s house. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky
September 15, 1946
National Archives
Public domain

Power & Light: Russell Lee’s Coal Survey is an exhibition of photographs of coal communities by American documentary photographer Russell Lee. These images tell the story of labourers who helped build the nation, of a moment when the government took stock of their health and safety, and of a photographer who recognised their humanity.

About the Exhibit

Power & Light is free and open to the public. The exhibition features more than 200 of Russell Lee’s photographs of coal miners and their families in the form of large-scale prints, projections, and digital interactives from a nationwide survey of housing and medical and community facilities of bituminous coal mining communities. The survey was conducted by Navy personnel in 1946 as part of a strike-ending agreement negotiated between the Department of the Interior and the United Mine Workers of America. The full series of photographs, which numbers in the thousands, can only be found in the holdings of the National Archives. These images document inhumane living and working conditions but also depict the joy, strength, and resilience of the miners’ families and communities.

Note: All photograph captions are original, as provided by the photographer. Unless otherwise noted, the images are in the holdings of the National Archives, Records of the Solid Fuels Administration for War.

Power & Light features Russell Lee’s 1946 coal survey photographs of miners in their homes, mines, and communities.

About Russell Lee

Russell Werner Lee (1903-1986) was born in Ottawa, Illinois. Originally trained as an engineer, he was methodical in his work, but approached his subjects with warmth and respect. The quiet Midwesterner put people at ease, enabling him to capture scenes of surprising intimacy. Many of his photographs reveal worlds through small details – keepsakes on the mantel, lined and calloused hands. What may be most distinctive about these images is their reflection of the photographer’s compassion for his subjects. Despite their plight, it is their strength, dignity, and humanity that strike the viewer.

If you recognise Lee’s photos – but not his name – you’re not alone.

Although the coal survey photos represent some of Lee’s finest work, his best-known photographs are from an earlier project. Lee was one of several photographers hired by the federal government in the 1930s to document the toll of the Great Depression and drought on rural Americans. While he worked alongside famous colleagues including Walker Evans and Dorothea Lange, Lee eschewed celebrity. His aim was to inspire social change, believing visual evidence of struggle and hardship could generate support for reforms.

Text from the National Archives Museum website

Russell Lee (American, 1903-1986)
Miners’ wives and children on the front porch of a typical, fifty year old house. Kentucky Straight Creek Coal Company, Belva Mine, abandoned after explosion [in] Dec. 1945, Four Mile, Bell County, Kentucky (Original Caption)
September 4, 1946
National Archives
Public domain

Russell Lee: Home

Lee’s photographs of miners at home reflect his respect for their individuality and resourcefulness, his fascination with families, and his meticulous attention to the details of everyday life.

Russell Lee (American, 1903-1986)
Gonzalla Sullivan, miner, with his two children and another child who lives in the neighborhood. Koppers Coal Division, Federal #1 Mine, Grant Town, Marion County, West Virginia
June 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Quarters of Japanese miner who lives in company housing project. Hudson Coal Company, Hudson Mine, Sweet Mine, Carbon County, Utah
July 4, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
The only houses with running water inside in this camp are those in which their tennants [sic] have made the installations at no expense to the company. Gilliam Coal and Coke Company, Gilliam Mine, Gilliam, McDowell County, West Virginia (Original Caption)
August 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
There are ten children in the Lawson Mayo family, the older taking care of the youngest ones. Three of the daughters are now attending high school in Mullens and have part time jobs during summer months. Mullens Smokeless Coal Company, Mullens Mine, Harmco, Wyoming County, West Virginia (Original Caption)
August 23, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Mrs. John Whitehead, wife of miner, and two of her children (or grandchildren) in the kitchen of her three room house. Mr. and Mrs. John Whitehead, their six children and six grandchildren live here. This house, built on company owned land was built by Mr. Whitehead’s half brother at no expense for materials or labor to the company; the builder (half brother) was to receive the use of the house rent-free for three years and at the end of this period the ownership of the house would revert to the company. The brother moved away at the end of one year, receiving no cash settlement from the company. The house now rents for $6 monthly. It has no running water, no electricity, access is over a mountain trail; there are three rooms. Coleman Fuel Company, Red Bird Mine, Field, Bell County, Kentucky (Original Caption)
August 31, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Houses along the railroad tracks. Fox Ridge Mining Company, Inc., Hanby Mine, Arjay, Bell County, Kentucky
August 31, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Mrs. Edna Lingar getting wash water from dirty stream; stock wade this stream, privies drain into it, garbage decay in it, a dead animal was in the stream about fifteen feet above where she was getting water. Kentucky Straight Creek Coal Company, Belva, Mine, abandoned after explosion, Four Mile, Bell County, Kentucky (Original Caption)
September 4, 1946
National Archives
Public domain

Russell Lee: Mines

Russell Lee was attentive to miners’ issues, documenting deductions to their pay, lost work days, perilous conditions, and the union meetings where they fought for a better deal.

Russell Lee (American, 1903-1986)
Telesfro Deluna, miner, walking on crutches. He is recovering from a foot injury in mine a accident. He has received medical care at this company owned hospital. Colorado Fuel & Iron Company, Pueblo, Colorado
July 1, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
J. M. Hawkins (left) former pharmacists mate in the U.S. Navy and Wm. Smith, former Marine, read notice on the bulletin board at the mine. Union Pacific Coal Company, Reliance Mine, Reliance, Sweetwater County, Wyoming
July 9, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Women pick foreign matter out of coal as it is carried on conveyor thru tipple. Union Pacific Coal Company, Stansbury Mine, Rock Springs, Sweetwater County, Wyoming (Original Caption)
July 10, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
James Robert Howard has gotten his safety lamp at lamp house. Of the 232 employees at this mine, 60% are Negroes. Gilliam Coal and Coke Company, Gilliam Mine, Gilliam, McDowell County, West Virginia (Original Caption)
August 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Miners boarding buses which will take them to washhouse from lamp house where they have checked out. Koppers Coal Divison, Kopperston Mine, Kopperston, Wyoming County, West Virginia
August 20, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Miners waiting at drift mouth for the afternoon man trip. Koppers Coal Divison, Kopperston Mines, Kopperston, Wyoming County, West Virginia
August 22, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Miners checking in at the lamp house at completion of morning shift. Koppers Coal Division, Kopperston Mines, Kopperston, Wyoming County, West Virginia
August 22, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Furman Currington and his son, miners. Black Mountain Corporation, 30-31 Mines, Kenvir, Harlan County, Kentucky
September 6, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Miners bring in their checks and see the sign that there is no Saturday work. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky (Original Caption)
September 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Blaine Sergent, left, comes out of the mine at the end of the day’s work. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky
September 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Rufus Sergent, married son, who is now coal cutter and general all around miner. Rufus did not like school and quit before finishing grade school. He went to work in the mines ten years ago when he was thirteen years old. P V & K Coal Company, Clover Gap Mine, Lejunior, Harlan County, Kentucky
September 15, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Changing shifts at the mine portal in the afternoon. Inland Steel Company, Wheelwright #1 & 2 Mines, Wheelwright, Floyd County, Kentucky (Original Caption)
September 23, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Harry Fain, coal loader. Inland Steel Company, Wheelwright #1 & 2 Mines, Wheelwright, Floyd County, Kentucky
September 23, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Harry Fain, coal loader, drills coal with hand auger. Powder charges are then placed and ignited. Inland Steel Company, Wheelwright #1 & 2 Mines, Wheelwright, Floyd County, Kentucky
September 24, 1946
National Archives
Public domain

Mining the Catalog – Exploring records from the Exhibit Power & Light

In March, a new exhibit opened at the National Archives building in Washington, D.C. titled “Power & Light: Russell Lee’s Coal Survey.” The exhibit features over 200 photographs of miners and mining communities in the 1940’s from Record Group 245: Records of the Solid Fuels Administration for War.

Russell Lee began his work for the federal government during the Great Depression when he was one of the photographers hired by the Farm Security Administration to document rural poverty. He later photographed the forced relocation of Japanese Americans to detention camps.

The photographs that are the subject of our exhibit come from Lee’s final project for the federal government. In 1946, he was sent to document the lives of coal miners and their communities by the Truman administration. The United Mine Workers’ 400,000 members had gone on strike demanding safer working conditions, improved health benefits, and better pay. As part of the agreement that ended the strike, the federal government agreed to survey the miners’ living conditions.

The photographs, which are part of the series “Photographs of the Medical Survey of the Bituminous Coal Industry,” show homes with backyard outhouses that were often owned by the mining companies themselves and rented to the miners. We also see miners and their families going about their everyday tasks, having fun in recreation halls, and playing outside.

Lee provided the photographs for the study which included 90 communities in 22 states. The program led to improvements in the mining communities, including the building of 13 new hospitals. Over the course of the survey, Lee took over 4000 photographs, more than 200 of which are included in the exhibit. Over 1000 of the photographs are available in the Catalog. Lee focused on three major themes for the project: home, mines, and community, capturing a moment of mid-century American life. His photographs show not just miners but their families, their homes, and their churches.

Text from the National Archives Catalog email

Russell Lee: Community

To fulfil the mandate of the survey, Lee photographed sanitary, medical, and recreational facilities and services. But he also captured moments of joy and connection that characterised the strong community bonds forged by the miners.

Russell Lee (American, 1903-1986)
Some of the members of the baseball team of Exeter-Warwick Mines. Kingston Pocahontas Coal Company, Exeter Mine, Welch, McDowell County, West Virginia (Original Caption)
August 10, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Children of miner living in company housing project. Note the homemade baby buggy made of a powder box. Union Pacific Coal Company, Reliance Mine, Reliance, Sweetwater County, Wyoming (Original Caption)
August 10, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Children of miners on the fence in front of the Howard house. Gilliam Coal and Coke Company, Gilliam Mine, Gilliam, McDowell County, West Virginia (Original Caption)
August 13, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
The meat and vegetable and fruit department in the company store. Raven Red Ash Coal Company, No. 2 Mine, Raven, Tazewell County, Virginia
August 29, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Handling serpents at the Pentecostal Church of God. Company funds have not been used in this church and it is not on company property. Most of the members are coal miners and their families. Lejunior, Harlan County, Kentucky
September 15, 1946
National Archives
Public domain

Russell Lee (American, 1903-1986)
Local UMWA union meeting is held on Sunday morning in schoolhouse. Inland Steel Company, Wheelwright #1 & 2 Mines, Wheelwright, Floyd County, Kentucky (Original Caption)
September 22, 1946
National Archives
Public domain

Lee’s next big project, and the topic of the National Archives Power & Light exhibit, came after the war. It was Lee’s last, large federally funded photo documentation project. In 1946 the Truman administration made a promise to striking coal miners that if they resumed work, the federal government would sponsor a nationwide survey of health and labor conditions in mining camps. Lee became an instrumental member of the survey.

Lee’s survey photos give an unprecedented accounting of medical, health, and housing conditions in coal-mining communities. Located in remote areas, these communities were not normally accessible to outsiders. Lee’s photographs demonstrate the difficult circumstances in which miners and their families lived but also show us the strength and resilience of these mining communities.

The National Archives has the complete series of more than 4,000 images, the bulk of which were taken by Russell Lee. They feature mining communities in several states, including Utah, West Virginia, Colorado, Kentucky, Pennsylvania, and Wyoming.

His photographs cover a complete range of activities in mining communities including: interior and exterior shots of both company-owned and private dispensaries; miners at work; mining grounds, equipment, and wash houses; women in the home; children at play; recreation facilities, churches, schools, and clubs; scenes of mining townspeople in and around company stores and town streets; family portraits; members of the medical survey group inspecting grounds and speaking to mine company administrators; and local mine operators and union officials.

The images are great primary sources, particularly because of the way Lee documented his photographs. In his extensive cataloging, he recorded the elements and details of home, workplace, and community, giving us an even greater glimpse into the daily life of miners and their families.

The Department of the Interior used many of Lee’s photographs when it published the final report in 1947, “A Medical Survey of the Bituminous Coal Industry,” and its supplemental report titled “The Coal Miner and His Family.”

Jessie Kratz. “Russell Lee’s Coal Survey Exhibit,” on the National Archives ‘Piece of History’ website March 18, 2024 [Online] Cited 20/03/2024

Unknown photographer (American)
Russell W. Lee (with camera in hand)
c. 1942-1945
Image courtesy of The Wittliff Collections / Texas State University

'The Coal Miner & His Family' Washington 1947

The Coal Miner and His Family
Washington 1947
A Supplement To A Medical Survey of the Bituminous-Coal Industry
Report of the Coal Mines Administration

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