1 W. E. B. Du Bois, “The Princess Steel,” ed. Adrienne Brown and Britt Rusert, PMLA 130.3 (May 2015): 823–24.
2 On the Du Bois–Atlanta School of Sociology, see Aldon Morris, The Scholar Denied: W. E. B. Du Bois and the Birth of Modern Sociology (Berkeley: University of California Press, 2015).
3 Eugene F. Provenzo Jr., W. E. B. Du Bois’s Exhibit of American Negroes: African Americans at the Beginning of the Twentieth Century (Lanham, MD: Rowan & Littlefield, 2013), 90.
4 David Levering Lewis, “A Small Nation of People: W. E. B. Du Bois and Black Americans at the Turn of the Twentieth Century,” in A Small Nation of People: W. E. B. Du Bois & African American Portraits of Progress, ed. Library of Congress (New York: Amistad, 2003), 28.
5 Mabel O. Wilson, Negro Building: Black Americans in the World of Fairs and Museums (Berkeley: University of California Press, 2012); Library of Congress, A Small Nation of People; Shawn Michelle Smith, Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (Durham, NC: Duke University Press, 2004); Provenzo, W. E. B. Du Bois’s Exhibit.
6 Soul of a Nation: Art in the Age of Black Power, ed. Mark Godfrey and Zoe Whitley (London: Tate Modern, 2017).
7 “The Surprising History of the Infographic,” Smithsonian, July 2016; Michael Soto, Measuring the Harlem Renaissance: The US Census, African American Identity, and Literary Form (Amherst: University of Massachusetts Press, 2016).
8 “The Negro in Business,” Atlanta University Publications (New York: Arno Press and the New York Times, 1968), 4–5; several women are listed among the investigators in “A Study of Negro City Life: Appendix A,” Atlanta University Publications, 73.
9 Smith, Photography on the Color Line.
10 Du Bois, The Souls of Black Folk (New York: Penguin, 1996), 5.
11 Deborah Willis, “The Sociologist’s Eye: W. E. B. Du Bois and the Paris Exposition,” in A Small Nation of People, 67.
12 Du Bois, The Autobiography of W. E. B. Du Bois: A Soliloquy on Viewing My Life from the Last Decade of Its First Century (New York: Oxford University Press, 2014), 140–41.
13 Morris, The Scholar Denied.
14 Du Bois, The Souls of Black Folk, 1.
15 Du Bois, Autobiography, 141.
16 Bulletin of Atlanta University, 110 (1900): 3. Horace Bumstead Papers, Atlanta University Center, Robert W. Woodruff Library, Atlanta, GA.
17 Thomas J. Calloway to W. E. B. Du Bois, 18 January 1909, W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries.
18 “How Is Digital Mapping Changing the Way We Visualize Racism and Segregation?” Forbes, October 20, 2017; Data for Black Lives Conference, MIT Media Lab, November 17–19, 2017.
1 1900 Exposition Gold Medal Award, ca. August 1900. W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries.
2 Aldon Morris, The Scholar Denied: W. E. B. Du Bois and the Birth of Modern Sociology (Berkeley: University of California Press, 2015).
3 Du Bois, “The American Negro at Paris,” American Review of Reviews (November 1900): 577.
4 Thomas Calloway, “The Negro Exhibit,” in Report of the Commissioner-General for the United States to the International Universal Exposition, Paris, 1900, vol. II (Washington, DC: Government Printing Office, 1901), 463–67.
5 Calloway, 463–67.
6 W. E. B. Du Bois, The Souls of Black Folk, ed. Henry Louis Gates (1903; Oxford: Oxford University Press, 2007).
7 W. E. B. Du Bois, “The Early Beginnings of the Pan-African Movement,” 20 June 1958. W. E. B. Du Bois Papers (MS 312), Special Collections and University Archives, University of Massachusetts Amherst Libraries.
8 Frederick L. Hoffman, Race Traits and Tendencies of the American Negro, Publications of the American Economic Association, vol. xi, no. 1–3 (New York: Macmillan, 1896).
9 William Wordsworth, “Composed Upon Westminster Bridge, September 3, 1802.”
10 Du Bois, “The American Negro,” 577.
11 Du Bois, 577.
12 Du Bois, The Negro Artisan: A Social Study (Atlanta: Atlanta University Press, 1902), 187.
1 W. E. B. Du Bois, “To the Nations of the World,” Pan-African Congress, London, ca. 1900.
W. E. B. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries.
2 Timothy Mitchell, Colonising Egypt (Berkeley: University of California Press, 1991), 28.
3 Mabel O. Wilson, Negro Building: Black Americans in the World of Fairs and Museums, (Berkeley: University of California Press, 2012), 97–98.
4 Denis Cosgrove, Apollo’s Eye: A Cartographic Genealogy of the Earth in the Western Imagination (Baltimore: Johns Hopkins University Press, 2001), 215.
5 W. E. B. Du Bois, “The American Negro at Paris,” American Review of Reviews (November 1900): 577.
6 Georg Wilhelm Friedrich Hegel, excerpt from “Philosophy of History,” in Race and the Enlightenment: A Reader, ed. Emmanuel Chukwudi Eze (London: Blackwell, 1997), 142.
7 Hegel, 142.
8 Du Bois, “The American Negro,” 577.
9 Du Bois, 577.
1 Mabel O. Wilson, Negro Building: Black Americans in the World of Fairs and Museums (Berkeley: University of California Press, 2012), 98.
2 Morris Lewis, “Paris and the International Exposition,” Colored American (October 1900): 295.
3 Marie Neurath, and Robin Kinross, The Transformer: Principles of Making Isotype Charts (London: Hyphen, 2009); Katherine McCoy, “Education in an Adolescent Profession,” in The Education of a Designer, ed. Steven Heller (New York: Allworth Press, 1998), 3–12; Edward Tufte, The Visual Display of Quantitative Information (Cheshire, CT: Graphics Press, 2001).
4 Scott Christianson, 100 Diagrams that Changed the World (New York: Plume, 2012), 120–23.
5 Christianson, 143.
6 Bulletin of Atlanta University, 110 (1900): 3; Shawn Michelle Smith, Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (Durham, NC: Duke University Press, 2004), 162.
7 Thomas J. Calloway, “The Negro Exhibit,” in Report of the Commissioner-General for the United States to the International Universal Exposition, Paris, 1900, vol. II (Washington, DC: Government Printing Office, 1901), 463–67.
8 Because of their fragility, the images are archived at the Library of Congress in window mats. Some reproductions show the actual ragged edges of these timeworn documents, while others have a distinct edge because of the mat in which they were photographed.
9 “Progressive Disclosure,” Nielsen Norman Group, accessed October 1, 2017, https://www.nngroup.com/articles/progressive-disclosure/.
10 Lorraine Wild, “Europeans in America,” in Graphic Design in America, ed. Mildred Friedman (Minneapolis: Walker Art Center; New York: Abrams, 1989); McCoy, “Education in an Adolescent Profession”; “Teaching and Learning,” Collected Writings of Rob Roy Kelly, accessed October 1, 2017, http://www.rit.edu/library/archives/rkelly/resources/pdf/03_ped/ped_tea.pdf.
11 Leland Wilkinson and Michael Friendly, “The History of the Cluster Heat Map,” American Statistician 63.2 (2009): 179–84.
12 “Stylographic Pens,” Vintage Pens, accessed November 20, 2017, http://www.vintagepens.com/stylos.shtml.
13 Because of the sheer number of letters, the designers could also have made use of a pantograph. A pantograph is a parallelogram-shaped mechanical device that was employed in the nineteenth and twentieth centuries to copy preset letter styles. Pantographs were also engaged in the manufacture of wood type that was parallel to these works. See Rob Roy Kelly, American Wood Type, 1828–1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period (1969; Saratoga, CA: Liber Apertus, 2010), 196.
14 Alice Walker, “If the Present Looks Like the Past, What Does the Future Look Like?” (1982), in In Search of Our Mothers’ Gardens (New York: Mariner Books, 1983), 290–91.
15 Neurath and Kinross, The Transformer.
16 Magdalena Droste and Karl Schawelka, Vassily Kandinsky: Teaching at the Bauhaus (Berlin: Bauhaus-Archiv Museum für Gestaltung, 2014), 32–36.
17 Christianson, 100 Diagrams, 143
18 The circle chart as a data form was actually pioneered by William Playfair in his 1801 Statistical Breviary; Tufte, The Visual Display, 44.
19 Wilson, Negro Building, 98.
20 The class levels were determined by Du Bois and are related to his well-known idea of the “Talented Tenth.” See Booker T. Washington et al., The Negro Problem: A Series of Articles by Representative American Negroes of Today (New York: James Pott and Company, 1903).
21 “Montgomery’s Raids in Florida, Georgia, and South Carolina, by William Lee Apthorp, Lt. Colonel, 34th United States Colored Infantry, June 1864,” accessed December 29, 2017, http://www.unf.edu/floridahistoryonline/montgomery/; Buddy Sullivan, Early Days on the Georgia Tidewater: The Story of McIntosh County and Sapelo, 4th ed. (Darien, GA: McIntosh County Board of Commissioners, 1990).
22 See note 8.
23 W. E. B. Du Bois, The Suppression of the African Slave-Trade to the United States of America (1896; New York: Longmans, Green, and Co., 1904).
24 G. P. Kellaway, Map Projections (London: Methuen & Co. Ltd., 1946), 37–38.
25 “New Flag for Afro-Americans,” Africa Times and Orient Review 1 (October 1912): 134, in Race First: The Ideological and Organizational Struggles of Marcus Garvey and the Universal Negro Improvement Association (Westport, CT: Greenwood Press, 1987), 43; George McGuire, Universal Negro Catechism: A Course of Instruction in Religious and Historical Knowledge Pertaining to the Race. (New York: Universal Negro Improvement Association, 1921), 34.
26 Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond (Dover: Majority Press, 1985), 207.
27 Robert Bringhurst, The Elements of Typographic Style (Seattle: Hartley & Marks, 2016), 122–25.
28 Bringhurst, 93.
29 Clay Shirky, “Power Laws, Weblogs, and Inequality,” Writings About the Internet, accessed November, 1, 2017, http://www.shirky.com/writings/herecomeseverybody/powerlaw_weblog.html.
30 Peter Irons, “Jim Crow’s Schools,” American Educator, accessed January, 31, 2018, https://www.aft.org/periodical/american-educator/summer-2004/jim-crows-schools.
31 Catherine Cooke, Russian Avant-Garde: Theories of Art, Architecture and the City (London: Academy Editions, 1995), 106; Whitney Museum of American Art, Donna M. De Salvo, and Ann Goldstein, Lawrence Weiner: As Far as the Eye Can See (Los Angeles: Museum of Contemporary Arts, 2007).
32 William E. Ryan and Theodore E. Conover, Graphic Communications Today (Clifton Park, NY: Thomson, 2004), 98.
33 “Nitro & Turbo Overview,” Hoefler & Co., accessed November 20, 2017, https://www.typography.com/fonts/nitro-turbo/overview/.