Douglas Kent Hall

Hall was born in Vernal, Utah, to Phyllis Hiatt and Charles William "Peck" Hall. He was the oldest of two children. While Peck Hall was serving in the Navy during World War II, his marriage to Phyllis broke up and the two boys started living with their maternal grandmother, Beulah Perry. Hall's elementary and high school years were spent with his grandparents on rural farms in the Vernal area. He raised sheep and cows that he exhibited and sold at County Fairs. During high school Hall was a rodeo contestant.[1]

At the age of seventeen, Hall entered Utah State University, Logan, to study creative writing. He transferred to the University of Utah in Salt Lake City and then to Brigham Young University where he earned his bachelor's degree in English in 1960. At BYU Hall started lifelong friendships with Alfred L. Bush and David Stires. Bush became the Curator of Western Americana at the Firestone Library, Princeton University, and Stires became a publishing executive. Hall's undergraduate years included study of the creative process with Brewster Ghiselin, editor of the book The Creative Process.[2] Hall met and married Claire Nicholson of Boise, Idaho between his junior and senior years at BYU. The two remained married for ten years.[1] Hall was accepted into the Writer's Workshop at the University of Iowa. For three years he worked as special assistant to Paul Engle, director of the program.[3] While at the Writer's Workshop Hall befriended, among others, Mark Strand, Galway Kinnell, W. S. Merwin, Robert Bly, and Adrian Mitchell.[4] Hall wrote and published while at Iowa.[5]

In 1963 Hall commenced a position at the University of Portland teaching Creative Writing and Literature. Hall and Claire moved to Portland, Oregon, in 1964. During his time at the University of Portland, Hall brought poets to the school for readings, including Allen Ginsberg, W. H. Auden, Anaïs Nin, Gary Snyder, Robert Duncan, William Stafford, and Robert Bly.[4] Hall also became active in an organization called American Writers Against the Vietnam War. At this time a friend lent Hall a camera and he taught himself photography, studying photographic technique and style. He photographed poets and the group of artists he befriended in Portland, including Lee Kelly, Carl Morris and Hilda Morris.[1]

Hall's increasing interest in photography led to freelance photographic work. He photographed Jimi Hendrix and Jim Morrison of the Doors for Sunn Music, makers of amplifiers. He received commercial and magazine photographic assignments and realized he could dedicate himself to his writing and photography and left the world of academia.[1]

In 1967 Hall traveled throughout England, France, Italy, Spain, Morocco, and Portugal with his cameras. He shot his first images in the Dark Landscapes series. In 1968 Hall moved from Portland to London and continued work in advertising and on his series of artist and writer portraits and his art photography. He began formulating the idea of Passing, which dominated most of the philosophy behind his personal work.[6]

Hall and his wife moved from London to New York City in 1968. He continued to photograph rock and roll stars, which resulted in the publication of Rock: A World Bold as Love, released later in paperback as The Superstars: In Their Own Words.[7] In New York, Hall continued writing. He published his first novel, On the Way to the Sky, in 1972.[8] This book fictionalized Hall's childhood years in Vernal, Utah, and his relatives. Hall's time spent in the world of rock and roll led to his novel Rock and Roll Retreat Blues, published in 1974.[9]

While driving across the country with Alfred Bush in 1969, Hall shot his first Passing series. In 1971 he developed the first negatives for Passing II. The idea of time and the photograph continued to deepen and became the guiding influence behind his total photographic output.[6]

Hall's marriage to Claire dissolved in 1970. He returned briefly to Portland, Oregon, and worked doing commercial photography jobs and writing. He met his future second wife, Dawn Claire Davidson, a fashion coordinator, in May 1971. The following December the two moved to New York and set up residence and studio in a loft on 21st Street and 7th Avenue.[1]

In the 1970s Hall lived in New York but spent much time traveling. His work included writing a book about rodeo titled Let Er Buck; writing and codirecting a feature documentary film about rodeo titled The Great American Cowboy, which won an Academy Award for Best Feature-Length Documentary; and publishing a photography book titled Rodeo, which was followed in the early 1980s by another book about cowboys, this one about ranch cowboys, titled Working Cowboys. Mark Strand writes, "These cowboys, as opposed to urban cowboys, drugstore cowboys, rodeo cowboy, or movie cowboys, stay on horseback all day long working cattle. And when they stand in front of the camera—in Hall's best photos, they are standing, looking straight into the camera lens—their detached way of life shows."[10] The 1970s also saw the publication of Hall's second novel, Rock and Roll Retreat Blues. In 1974, Hall exhibited his photographs for the first time, at the Whitney Museum of American Art in New York. The exhibition and accompanying catalog, Photography in America, is where the public first viewed his photograph Mesquite, Texas.[11]

During the latter half of the 1970s and the early 1980s, Hall worked on books collaboratively. In 1975 Hall's literary agent, Bob Dattila, asked him if he would be interested in working on a project with bodybuilder Arnold Schwarzenegger. Hall and Schwarzenegger published two books, Arnold: The Education of a Bodybuilder and Arnold's Bodyshaping for Women. Arnold: The Education of a Bodybuilder was on the New York Times Best Seller list for eleven weeks in 1978.[12] In 2002, Sports Illustrated included the Hall/Schwarzenegger collaboration as number 71 on their "Top 100 Sports Books of All Time".[13] During the writing and photographing of Bodyshaping for Women, Hall became acquainted with female bodybuilder Lisa Lyon; the friendship led to the publication of their Lisa Lyon's BodyMagic.[14] The Incredible Lou Ferrigno, with bodybuilder Lou Ferrigno, rounded out Hall's collaborative publishing ventures with bodybuilders.[15]

In 1977 Hall and his partner moved from New York to the village of Alcalde, New Mexico. After living together for more than six years, they were married in Santa Fe on July 23, 1977. In 1980 their son Devon was born.

Hall traveled throughout the Southwest and along the Mexico-U.S. border in the 1980s gathering material for two photographic books. The Border: Life on the Line introduced Hall to the varied types of people who live and work on both sides of the border. The book includes many color photographs.[16] Frontier Spirit: Early Churches of the Southwest also includes many color images.[17]

Most well known for his silver prints, in 1992 Hall began printing with platinum. Also in the early 1990s, Hall traveled to Saint Petersburg, Russia, to document the Hermitage Museum's art school for children. He photographed in the students' homes and at the museum.[1] During this period Hall also traveled to Minas Gerais, Brazil, to document the region's gold and gemstone miners.[18]

In the mid-1990s Hall began producing one-of-a-kind photographic artworks. His Zen Ghost Horses series are images of Peruvian Paso and Clydesdale horses exposed onto handmade paper that was brushed with emulsion. Hall embellished the works with gold leaf, Chinese and Japanese calligraphy, and acrylics.[1] Taking color images shot along the Mexico-U.S. border, Hall created a suite of artes de caja (art boxes). These pieces incorporate color photograph, poems, milagros, objects picked up while traveling the border, and pages from Mexican graphic novelettes into and on hand-painted wooden wine boxes. The Albuquerque Museum showed fifteen of the border boxes for four months as part of a tribute exhibition for Hall in 2008.[19]

After being awarded the New Mexico Governor's Award for Excellence in the Arts in 2005,[20] Hall's In New Mexico Light, a compilation of his images taken over a forty-year time span, was published by the Museum of New Mexico Press.[21]

In 2002, Hall's first collection of poems was published in Visionary. The book also contains an extended automemoir/poem.[1]

Hall began studying and practicing Kaju Kenpo karate in Santa Fe in 1986, receiving his Nidan black belt in 1998. He taught karate in Española, New Mexico until 2002. While continuing to practice karate, Hall also incorporated Tai Chi into his daily spiritual practice. When photographer Joyce Tenneson selected Hall in 2004 for inclusion in her book Amazing Men, she photographed him working with martial arts weapons.[22]

Hall died suddenly at his home in Albuquerque on March 30, 2008; the cause of death was described as "a cardiac incident." He was survived by his wife, Dawn, and son, Devon Hall, a composer and pianist.[23][24]

Hall's first writing was fiction. His first novel, On the Way to the Sky, is set in Utah and explores themes that surface frequently in his work: small-town life, surviving a broken home, Mormonism, hunting and fishing, music, and rodeo. Writer Mag Dimond asked Hall in 1997 which of his books were his favorite and why. "His first choice was On the Way to the Sky, the book he wrote when he was about twenty-one, a steely, sweet autobiographical novel he didn't publish until almost six years later. About this book he simply says, 'I was able to define my past, get it behind me where it belongs.' . . . This stunning little novel is rich in characters suggested by real people . . . written in startlingly original language."[25] The New York Times Book Review noted, "Mr. Hall invents distinctive family backgrounds for his three heroes and arranges them into an impressionistic chronicle."[26] In Rock and Roll Retreat Blues, his second novel, the humor is sardonic; it is a commentary on the world of rock and roll and the culture it creates and drives. According to a Publishers Weekly review, "The book is chock-full of familiar contemporary figures—Hells Angels, revolutionaries, people spaced out on religion or brown rice or drugs, even such exotics as the "plaster casters." Yet Hall is fresh and funny, and he makes Artie's [the protagonist's] search for his own psyche very real and very much a part of our times. (Excerpts ran in Penthouse)."[27] The third novel, The Master of Oakwindsor, set in 1908 England, explores the clash between rural England and a new and darker industrial Britain and between two families. Bestseller magazine writes, "After three successful novels and an Academy Award–winning screenplay, it is no surprise that Hall's novel brings a fresh outlook to the overworked genre of historical romance. The Master of Oakwindsor is a diverse and brilliantly colored portrait of England and Europe at the turn of the century, bristling with event and detail."[28]

Hall's numerous books of nonfiction, which include his photographs, treat various subjects, including rock and roll, rodeo, cowboy life, bodybuilding, prison, the historic churches of the Southwest, and the border between the United States and Mexico. "The Border, about desperate lives lived on both sides of the United States–Mexico border, is at once a compelling piece of work, a lucid and personal rendering of Hall's own border experiences both in words and 'pictures.'"[29] Let 'Er Buck is "a really deep look at rodeo and some rodeo people. Most of us have seen what goes on in the arena; this book mostly deals with the rest of it. . . . What [Hall] has said with his typewriter and his camera is bound to be controversial."[30] About Hall's book In New Mexico Light, Bill Richardson, governor of New Mexico, wrote: "the thoughtful text in this book [is] testimony to the work of an artist who has dedicated his life to observing the rich cultural texture of New Mexico."[31] In New Mexico Magazine, Jon Bowman writes, "Hall accompanies the images [in In New Mexico Light] with some of the most lucid, engaging essays on the photographic process you'll ever read. He's a straight-shooter all the way. There's no mention of f-stops or arcane technical knowledge, but rather some fine storytelling, mixing in roughly equal doses of the sacred and the profane."[32]

Many of Hall's images have become known as icons of Americana, such as Mesquite, Texas 1973, and Jim Morrison, Portland. Princeton University curator Alfred L. Bush writes: "Unlike the majority of the photographic explorers, who are continually clicking away at the American West, Douglas Hall's camera is firmly rooted in the region's very center."[33] Hall's photographs are mainly of people; the protagonist in the Sam Shepard story "San Juan Bautista" says: "I'm more into faces—people; Robert Frank, Douglas Kent Hall, guys like that."[34] Hall finds his subjects worldwide, from New York to the Southwest, from Russia to Japan, Brazil to Mexico, as well as in places like Morocco and the Outer Hebrides Islands. On the occasion of the exhibition in Santa Fe of Os Brasileiros (The Brazilians), David Bell notes, "Hall, who has recently made several trips to Brazil and the Amazon, takes as his subjects not only the miners who were his first objective but families, farmers . . . and students, too. The result is a composite portrait of a people who in most cases appear to give themselves with equal abandon to the camera and to life."[35] He continued to work in film and branched into digital imagery, shooting both color and black-and-white. Hall crossed the digital photography boundary by moving into fine art color photographs printed on handmade watercolor paper. Mark Strand noted in Vogue Magazine, "There is nothing provisional about Hall's enterprise; it is both broad and, in individual photographs, scrupulously resolved. His pictures have an edge, a magical certainty about them that not only justifies but also honors their subjects, no matter how odd or how exploited."[36] Writing about Hall's 2007 book In New Mexico Light, Dave Gagon notes, "A filmmaker and poet, as well as a photographer, Hall has photographed and written about New Mexico's unique mix of places and people, a broad representation including ancient sites and Spanish churches, Indian ceremonial dances, portraits of artists and writers, viejos and vagabonds. He invigorates his 182 black and white photographs with descriptive prose—something most visual artists have difficulty achieving."[37] In his foreword to In New Mexico Light actor/playwright Sam Shepard writes, "The photographs in this book are naked impressions of the mind and spirit just waiting for somebody as lucky and gifted as Douglas Kent Hall to hunt them down and seize them with a little black box."[38] When discussing the complex relationship of a photograph to history, Hall noted to the author of Photography: New Mexico, Kristin Barendsen, "that a photograph imparts the illusion of permanence, when in fact the scene depicted no longer exists. What's more, he said, the photograph does not represent exactly what its maker saw. It takes on a life of its own, and because each viewer experiences it differently, the image reflects an essence of the viewer. 'That's not my photograph,' he said, pointing to his most famous image, Mesquite, TX, hanging in his studio. 'It belongs to the viewer.'"[39]

Hall's papers are held at Princeton University Library, Rare Books and Special Collections. The collection, which is open to researchers, comprises 93 linear feet, 101 boxes.[41]

• J. Marinus Jensen Short Story Contest, Brigham Young University, 1959[1]
• Academy Award for Best Documentary Feature, Great American Cowboy, 1974[42]
• Honorary Chair, College of Notre Dame's Sister Catherine Julie Cunningham visiting scholar award. Fine Arts Department, College of Notre Dame, San Francisco, Spring 1997[43]
• Distinguished Alumnus of Uintah High School, Vernal, Utah, 1999[1]
• New Mexico Governor's Award for Excellence in the Arts, 2005[44]
• Medici Gold Medal Career Award, Florence Biennale Internazionale Dell'Arte Contemporanea, 2005[45]
• Finalist, New Mexico Book Awards, art books, for In New Mexico Light, 2008[46]

• The camera, the split-second blink of the shutter, taught me that time does not pass. It is we who pass. We pass through time and we waste only ourselves. Time is indifferent to us and to our folly. Time remains the one certainty we have, the fixed and constant factor-more concrete than life, more permanent than space.[47]

• "James Joyce at 71: Rue du Cardinal Lemoine," essay by Douglas Kent Hall, Brigham Young University Studies 3, nos. 3–4 (Spring–Summer 1961): pp. 43–49.
• Photography in America, New York, Random House, 1974, pp. 246–47. ISBN 0-517-39128-7
• "Love of Traction," essay by Douglas Kent Hall. Esquire, September 1976, p. 76.[62]
• "Van Art," essay and photographs by Douglas Kent Hall. Esquire, September 1977, p. 115.[63]
• Boundary 2: A Journal of Postmodern Literature, Binghamton, NY, 1982
• The Cowboy, New York, Stewart, Tabori, & Chang, 1983, pp. 226–27. ISBN 0-941434-25-7
• Princeton University Library Chronicle, vol. XLIV, Spring 1983, portfolio of Matachines photographs
• Photoflexion, New York, St. Martin's Press, 1984
• Third Western States Exhibition, New York, The Brooklyn Museum; Santa Fe, Western States Arts Foundation, 1986, Library of Congress Catalogue No. 85-052333
• 3 / Photographers: Douglas Kent Hall, Bruce Berman, and Roger Manley, Roswell Museum and Art Center, NM, 1986
• Images of Spirit and Vision, Santa Fe, NM, Museum of New Mexico Press, 1987, p. 74. ISBN 0-89013-169-4
• Die Gleichzeitigkeit des Anderen, Stuttgart, Germany, Verlag Gerd Hatje, 1987
• Way Out West, Tokyo, Japan, Treville Publishing Co., 1990, 21 pages. ISBN 978-4-8457-0575-7 C0072
• Electric Gypsy, London, England, Heinemann and Heinemann, 1990, color p. xv. ISBN 0-312-05861-6
• Zero Mass, The Art of Eric Orr, Stockholm, Sweden, Propexus, 1990, pp. 284–85. ISBN 91-87952-03-3
• Esquire/Japan, Working Cowboys and Artist Profile, Tokyo, Japan, July 1991
• Southwest Profile, Portfolio of Fourteen Photographs; Santa Fe, NM, August, September, October 1991
• Southwest Profile, Portfolio of Nine Photographs, Santa Fe, NM, November, December, January 1991/1992
• The Jimi Hendrix Concerts, Bella Godiva Music, Inc., 1991, pp. 18, 36, 96, 122, 154. ISBN 0-7935-0102-4
• Radio One, Hendrix, Bella Godiva Music, Inc., 1991, all photographs. ISBN 0-7935-0307-8
• The Doors: The Complete Lyrics, A Delta Book, 1992, pp. 88, 93, 105, 110, 166. ISBN 0-385-30840-X
• Imago, vols. 3–5, Japan, Portfolio, 1992
• Walking Swiftly, edited by Thomas R. Smith, HarperPerennial, 1992, photograph of Robert Bly, p. 73. ISBN 0-06-097526-1
• Chaco Past, Boxed Portfolio of Douglas Kent Hall photographs of Chaco Canyon, 1992
• Chaco Future, Boxed Portfolio of Douglas Kent Hall photographs of Chaco Canyon, 1992
• Photographer's Forum, Exclusive magazine interview and portfolio of eight photographs, November 1992
• a simple story (Juárez), Terry Allen, Ohio State University, Wexner Center, 1992
• The Photograph and the American Indian, by Alfred L. Bush and Lee Clark Mitchell, Princeton University Press, 1994 ISBN 0-691-03489-3
• The Paintings of William Lumpkins, "William Lumpkins in Roswell," catalog essay, Roswell Museum and Art Center, NM, 1995
• Understanding Art, Fourth Edition, by Lois Fichner-Rathus, Prentice Hall, 1995
• It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art, by David S. Rubin, Munich, Prestel, 1995. ISBN 3791316273, ISBN 978-3791316277
• The Inner World of Jimi Hendrix, by Monika Dannemann, St. Martin's Press, New York, 1995. ISBN 0-312-13738-9
• Jimi Hendrix: The Ultimate Experience, by Adrian Boot and Chris Salewicz, London, Boxtree, 1995. ISBN 0-7522-0710-5
• Philadelphia Photo Review, portfolio, Prison Tattoos, the Stations of the Body, volume 19, number 4, Fall 1996
• Westerns, by Lee Clark Mitchell, University of Chicago Press, 1996. ISBN 0-226-53234-8
• A Borderless Vision: A Douglas Kent Hall Retrospective, catalog for Solo Exhibition, Wiegand Gallery, Belmont, CA, 1997
• Larry Bell: Zones of Experience, two essays, Albuquerque, The Albuquerque Museum, 1997, Library of Congress Catalogue No. 94-12045
• Eyewitness: The Illustrated Jimi Hendrix Concerts, 1969–1970, compiled by Ben Valkhoff, Up from the Skies Unlimited, Nijmegen, the Netherlands, 1997, p. 80. ISBN 90-803803-1-8
• Master Breasts, Aperture, New York, NY, 1998, pp. 4–5. ISBN 0-89381-803-8
• History of Photography: A Bibliography of Books, vol. 4, Laurent Roosens and Luc Salu, Mansell, 1999, p. 140. ISBN 0-7201-2354-2.
• 23. International Biennial of Graphic Arts/Mednarodni Graficni Bienale, Ljubljana, Slovenia, 1999
• Leslie Marmon SIlko, University of New Mexico Press, 1999, cover photograph. ISBN 0-8263-2033-3
• "Toughest Indian in the World," by Sherman Alexie, The New Yorker, June 21, 1999, p. 96, Douglas Kent Hall photograph [64]
• Tamarind: Forty Years, by Marge Devon, University of New Mexico Press, 2000, p. 145. ISBN 0-8263-2072-4
• Spider Woman: A Story of Navajo Weavers and Chanters, Gladys Reichard, University of New Mexico Press, 2001, cover photograph. ISBN 0-8263-1793-6
• Alvin Lee & Ten Years After, by Herb Staehr, Hingham, MA, Free Street Press, 2001. ISBN 0-9708700-0-0
• New Mexico Magazine, Master's Showcase, July 2001
• Chokecherries 2001 (Cover photo), SOMOS, Taos, NM, 2002
• Magnifico: Art of Albuquerque: A World of Paint and Polish, catalog essay, August 2002
• Tony Price Atomic Artist, catalog essay, The Museum of Fine Arts, Santa Fe, NM, "Dancing to the Music: Tony Price in Retrospect," November 2002. ISBN 0-9675106-7-8; ISBN 978-0-9675106-7-5
• The Book of War: White Sands, collaborative multimedia artist book. Portfolio of Douglas Kent Hall photographs of White Sands, and DVD/CD of Douglas Kent Hall poetry read by Douglas Kent Hall with music composed and recorded by Devon Hall, composer, 2002
• The Social Lens, University Art Museum, Albuquerque, NM, July 2003
• Just You Just Me: The Art of Lily Fenichel, catalog essay, Harwood Museum of Art, Taos, NM, 2004. ISBN 0-9741023-9-3; ISBN 978-0-9741023-9-9
• Amazing Men, photographs by Joyce Tenneson, Bulfinch, New York, 2004. ISBN 0-8212-2855-2
• Classic Hendrix, Genesis Publications, Surrey, England, 2004 ISBN 0-904351-90-4; ISBN 978-0-904351-90-3
• New Mexico 24/7, DK Publishing, New York, 2004, pp. 65, 66, 70–71, 107, 110, 120–21. ISBN 0-7566-0071-5
• Dugout, by Terry Allen, Austin, University of Texas Press, 2005. ISBN 0-292-70686-3
• Carl*s Cars Magazine, Photographic Portfolio and Interview, "Van People." Issue 12, Summer 2005, Oslo, Norway
• Room Full of Mirrors: A Biography of Jimi Hendrix, by Charles Cross, Hyperion, 2005, insert p. 9. ISBN 1-4013-0028-6
• Carl*s Cars Magazine, Cover and Photographic Portfolio, "Passing." Issue 14, Winter 2005, Oslo, Norway
• Biennale Internazionale Dell'arte Contemporanea, Quinta Edizione, Florence Biennale, Italy, 2005
• Essentials of Argument, by Nancy V. Wood, Pearson/Prentice Hall, NJ, 2006, border photograph. ISBN 0-205-82702-0
• Hope: Preserving Tibetan Culture, Dalai Lama Benefit, CoolGreySeven/Dalai Lama Norbulinka Institute, 2006
• Jimi Hendrix: An Illustrated Experience, Janie L. Hendrix and John McDermott, New York and London, Atria Books, 2007. ISBN 978-0-7432-9769-1; ISBN 0-7432-9769-5
• Green, Inaugural Exhibition, essay by Sharyn Udall, 516 Arts, Albuquerque, NM, 2007
• El Palacio, excerpt from In New Mexico Light, 6 pages, Fall 2007
• Iconic America, Tommy Hilfiger with George Lois, New York, Rizzoli/Universe, November 2007. ISBN 978-0-7893-1573-1
• Insights: The Portraiture Of Charles R. Rushton, Nabee-Gerrer Museum of Art, Norman Oklahoma, 2008. ISBN 978-0-615-17331-3
• Titans: Muhammad Ali and Arnold Schwarzenegger, photographs by Al Satterwhite, essay contributions by Douglas Kent Hall, Dalton Watson Fine Art Books, 2008. ISBN 978-1-85443-231-5
• Mass: Of This World: The Art of Alan Paine Radebaugh, Radebaugh Fine Art, Albuquerque 2008
• Photography: New Mexico, essays by Kristin Barendsen, Fresco Fine Art Publishers, 2008. ISBN 978-1-934491-10-2
• Thirty Year Selected Retrospective, Midwestern State University Art Gallery, Wichita Falls, TX, 2008
• Illumination: The Paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce, Orange County Museum of Art, Newport Beach, CA, 2009. ISBN 978-1-85894-481-4
• Rangefinder, portfolio of eight photographs, article by Paul Slaughter, March 2009
• Raymond Carver: A Life, Carl Sklenicka, Scribner, 2009. ISBN 978-0-7432-6245-3
• Terry Allen, University of Texas Press, 2010. ISBN 978-0-292-72246-0
• College of Notre Dame People: Douglas Kent Hall, Textstream, 2010. ISBN 9781156898840; ISBN 1156898846
• Day out of Days, Sam Shepard, Vintage Books, 2011, p. 50. ISBN 9780307277824. See also The Wall Street Journal, December 2–3, 2017, Books section.
• Perspectives on Argument, by Nancy V. Wood and James Miller, Pearson Education, NJ, 2011, border photograph. ISBN 0-205-06033-1
• The Rolling Stones in Portugal, Rolando Rebolo, Zebra Publicações, 2011
• Larry Bell, Carré d'Arte–Musée d'art contemporain de Nîmes, France, 2011. ISBN 978-2-84066-442-0
• Princeton University Library Chronicle, vol. LXXIII, Autumn 2011, announcement of the acquisition of the Douglas Kent Hall Papers
• Hendrix on Hendrix: Encounters and Interviews with Jimi Hendrix, Steven Roby, Chicago Review Press, 2012. ISBN 978-1-61374-322-5
• Total Recall, Arnold Schwarzenegger, Simon and Schuster, 2012, pp. 226–27. ISBN 978-1-4516-6243-6
• "Top Five Iconic Music Photos," photo of Eric Clapton and Ginger Baker by Douglas Kent Hall, Elmore Magazine, issue 59, November/December 2013
• Princeton University Library Chronicle, "Photography and the Princeton Collections of Western Americana," by Gabriel A. Swift, vol. LXXV, no. 2, Winter 2014, pp. 242–43
• 20th Century Photographers, Grace Schaub, Routledge, 2015, pp. 99–106. ISBN 978-1-138-84095-9
• Visualizing Albuquerque: Art of Central New Mexico, Joseph Traugott, Albuquerque Museum, 2015. ISBN 978-0-9779910-8-2
• 100 Years of Tattoos, David McComb, London: Laurence King Publishing, 2016. ISBN 978-1-78067-476-6
• 75 Years of Capitol Records, edited by Reuel Golden, Taschen, 2017, pp. 299, 483. ISBN 978-3-83655-028-4
• "The Ascetic," by Dan Chiasson, The New Yorker, September 18, 2017, photograph of W. S. Merwin by Douglas Kent Hall, p. 67 [65]

• Official website
• The Douglas Kent Hall Papers at Princeton University