Promotional flyer for a screening and discussion featuring video artist Jocelyn Taylor. Hosted by ZAMI and the Office of Lesbian, Gay, Bisexual Life, the event highlights artistic representations of African American lesbian identity and challenges to dominant narratives about Black women’s bodies.

Color photograph depicting participants at a Pride or community gathering event, including individuals wearing ZAMI apparel and visible rainbow flags. The image captures expressions of joy, visibility, and collective identity within Black LGBTQ+ community spaces.

Photograph of ZAMI members gathered indoors holding a poster featuring Audre Lorde and one of her quotations. The image reflects the organization’s intellectual and cultural grounding in Lorde’s work and its role in fostering community, identity, and empowerment among Black lesbians.

Group photograph of scholarship recipients and ZAMI members holding award checks from the Audre Lorde Scholarship Fund. The image documents ZAMI’s commitment to education, leadership development, and community support for lesbians of African descent.

Flyer announcing a commemorative event honoring Audre Lorde, hosted by ZAMI and community partners at the First Existentialist Church in Atlanta. The program reflects the influence of Lorde’s work on Black lesbian feminist thought and community organizing. Sponsored by Charis Books, the First Existentialist Congregation, and Spelman College’s Lesbian/Bisexual Alliance.

Color photograph of Rheba Butler and her daughter, Darrilyn Selena Butler (granddaughter of Selena Sloan Butler), taken in June 1956. The child, dressed in a light-colored dress, holds a toy poodle while being supported by her mother outdoors on a lawn, capturing a tender family moment.

Photograph of the Albany State College drill team performing, dated October 27, 1979. A line of young women in coordinated uniforms executes a synchronized routine on a field, capturing movement, precision, and school spirit.

Photographs of two women participating in a painting class, circa 1940s. Each woman works at an easel in a classroom studio, surrounded by art supplies and instructional materials. The scene highlights artistic training, concentration, and creative expression in an educational setting.

Photograph of an unidentified young girl hosting a tea party with toys, circa 1950s. The girl stands at a small table set with miniature dishes, surrounded by dolls, a teddy bear, and other toys in a neatly arranged bedroom, capturing a moment of imaginative play and childhood.

Photograph of an unidentified young girl standing at a cash register in a grocery store, circa 1960s. She wears an apron and appears to be operating the register, surrounded by packaged goods and food items, suggesting participation in work or play within a retail setting.

Photograph of three young women seated at a table in party dresses, circa 1950s. The women wear formal evening attire and appear relaxed, holding drinks and socializing, capturing a moment of leisure and youthful elegance.

Two students examine a folded map alongside a globe and wall map, reflecting an academic focus on geography and global affairs. The image highlights intellectual engagement and awareness of international issues during the World War II era.

Photograph of Asa G. Yancey (seated on sofa next to wife, Carolyn) and family posed for a formal portrait, undated (circa 1960s). Their daughters Caren and Carolyn are seated on the floor. The family is arranged in a living room setting, with two adults seated and children positioned around them, dressed in coordinated, formal attire. The framed image and domestic interior reflect mid-twentieth-century family portrait traditions and a sense of pride, stability, and togetherness.

Photograph of young women attending a lecture, circa 1940s. A speaker stands at a podium addressing an audience seated in rows, while two individuals sit at a table beside him. The image highlights the educational environment and intellectual engagement of African American students during the mid-twentieth century.

Photograph of Marian Anderson visiting Spelman College, circa 1940s. Anderson is shown walking with a group of women, dressed in formal attire, as they descend the steps of a campus building. The image captures a moment of community gathering and highlights Anderson’s presence at a historically Black women’s college during the height of her celebrated career.

Archival overview describing the Duncan Teague Collection at the Auburn Avenue Research Library. The page outlines Teague’s work as an activist, writer, and founder of ADODI Muse, and describes the significance of the collection within AARL’s Black LGBTQ+ archival holding

Newspaper article reporting on a large gay rights demonstration in Washington, D.C., highlighting participation by Black LGBTQ+ activists including members of BWMT/Atlanta (Black and White Men Together).

Cover of the premiere issue of Fantasia Magazine, a publication created for same-gender-loving people of African descent. The issue features commentary addressing homophobia in the Black church and includes news, arts, and community reporting.

Certificate issued by Positive Impact, Inc. recognizing Duncan E. Teague for participation in the training “Keeping Our Brothers in Mind: Black Gay Men, Mental Health and HIV.” The training addressed HIV-related health and mental health issues affecting Black gay and bisexual men.

Newspaper article discussing the experiences of Black gay men organizing in Atlanta. The article includes commentary from Duncan E. Teague, co-chair of the African American Lesbian/Gay Alliance (AALGA), reflecting on community visibility and advocacy.

Cover of Venus Magazine, Volume 3, Number 1 (January 1997), featuring singer Ann Nesby. The magazine focused on news, culture, and issues affecting lesbians and gays of African descent.

Cover of BLK: The National Black Lesbian and Gay Newsmagazine, Volume 3, Number 5 (May 1991). The issue features coverage of Black LGBTQ+ culture, politics, and current events.

Cover of CLiKQUE Magazine, Volume 2, Number 6 (November 1998), featuring a photograph of two men and the headline “Remember Me? I’m Still Kicking and Raising Hell.” The publication served as a news and entertainment magazine for Black LGBTQ+ communities.

Color portrait of Duncan E. Teague, an Atlanta-based social and political activist, writer, and community organizer associated with Black LGBTQ+ organizing and the ADODI Muse ensemble. The portrait depicts Teague resting his hands together while looking directly at the camera.

Series of photographs of Madeleine Berthelot taken during a visit to the French Riviera in May 1946. The images show Berthelot posing in front of prominent locations including the Hotel Ruhl in Nice, the Promenade des Anglais, and the Hotel Martinez in Cannes. Her tailored coat, handbag, and composed stance reflect postwar fashion and the culture of travel along the Mediterranean coast in the immediate aftermath of World War II.