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RESOURCES
A Self-Portrait of the Photographer as a Metaphysician
1941; photoprint
by Clarence John Laughlin
The Clarence John Laughlin Archive,
7981.247.3.339
B Elegy for Moss Land
1940; photoprint by Clarence John Laughlin The Clarence John Laughlin Archive, 1981.247.1.888
C Poem at Sunset, Number One
1939; photoprint
by Clarence John Laughlin
The Clarence John Laughlin Archive,
7987.247.7.775
D The Enigma
1941; photoprint
by Clarence John Laughlin
The Clarence John Laughlin Archive,
7987.247.7.7659
E The Disease of Pride, Number One
1949; photoprint
by Clarence John Laughlin
The Clarence John Laughlin Archive,
7987.247.7.524
Dreams, Digitized
Laughlin photographs join the Louisiana Digital Ubrwy. an online resource and partnership between THNOC and ttOwiiil. iamhrtions.
The world of photographer Clarence John	is	one	of	apparitions, shadows, masks, and earthly rcmii*., h * -	one can get lost in,
and, thanks to a recent THNOC project, d^r.i hjt . been so easy.
The Collection is one of 22 insist.: - -.it	to	the Louisiana Digital
Library (LDL), a free online	materials	from	across
the state. Launched in 2001 under LlU 1' TV 1	Library Network, as
part of the Teaching American Hi~m» I *nj.i=ta I \HIL) grant project, the web service connects users to	than 144,000 historical
items, including photographs, map*.	oral histories,
and more.
“It’s an access point that rsdirxxs u*r» to ufc.’ says THNOC Digital Assets Manager Kent WoynotfrJu. *ho	TV CcUecne«s ongoing contributions
to the digital library. "It's anoik?	10 p tt *acd out about our holdings.”
The Collection's photo dqa— •m hte orialr tanned and prepared vast bodies of material for the prr-i--r»_ at? 1}“ AU.-rd and William Waud Collection, named for the celebrated G<i! W*<-ss illustrators, hundreds of THNOCs paintings by Louisiana artists, and the Charles L. Franck and Franck-Bertacci Collections, which comprise nearly 11.000 im—<.
THNOC has been steadily contributing images to the library from its Clarence John Laughlin Archive, which includes more than 12.000 photographs, as well as correspondence and written works. Neath* 1,000 images—from master prints and in-progress prints to collages and color experiments—have made it into the LDL, with 100 to 200 more added every month.
Laughlin, whose core body of work spans the years 1935-65, was inspired by “the wonder and terror of our times ... in which the present and the past discordantly mingled,” as he wrote in “A Statement,” one of the texts in THNOC’s Laughlin archive. Old mansions stand amid creeping vegetation; disheveled children peer out from the recessed area of a crypt; the visages of statues seem to carry messages from the past. Browsing the collection can feel like trespassing on private property: the images are secretive, metaphysical, and shrouded in derelict mystery—all qualities that Laughlin helped make a permanent part of New Orleans’s public image. —MOLLY REID
6 The Historic New Orleans Collection Quarterly