Author and journalist Max Holland accessed the Ransom Center’s Bob Woodward and Carl Bernstein Watergate Papers while researching his book Leak: Why Mark Felt Became Deep Throat (University Press of Kansas, 2012), which is now available. Holland describes his work at the Center:
The genesis of Leak: Why Mark Felt Became Deep Throat began when I read a news item in 2007 about the opening of materials relating to Mark Felt in the Woodward and Bernstein Papers at the Ransom Center. Having done research in archives for years, one thing I’ve learned is that newly opened papers invariably contain new insights into a historical event, no matter how much it has already been written about.
I wasn’t disappointed after perusing the collection.
The single-most important documents, of course, were Bob Woodward’s typewritten notes from his encounters with W. Mark Felt, a.k.a. Deep Throat. Other Woodward notes from contemporaneous interviews with L. Patrick Gray III and Donald Santarelli were useful too. Early drafts of All the President’s Men, particularly those portions about Deep Throat that were excised from the published book, illuminated the Woodward/Felt relationship. Finally, an interview that Carl Bernstein and Woodward conducted with the late Howard Simons was vital for my book, since he was the only Post editor I could not interview myself.
Organized by the Foundation for the Exhibition of Photography (FEP) in collaboration with the Harry Ransom Center, the exhibition Arnold Newman: Masterclass explores the career of Arnold Newman, one of the finest portrait photographers of the twentieth century.
The exhibition opens March 3 in Germany at C|O Berlin, and the Ransom Center will host the exhibition’s first U.S. showing in February 2013.
This exhibition tour was created under the auspices of the American nonprofit organization FEP. The show highlights 200 framed vintage prints, covering Newman’s career, from the Arnold Newman Foundation archive and the collections of major American museums and private collectors. Twenty-eight photographs from the Ransom Center’s Newman collection are featured in the exhibition.
A bold modernist with a superb sense of compositional geometry, Newman is known for a crisp, spare style that cleverly situates his subjects in context. Artists delighted in sitting for Newman, knowing that he would find a way to convey their sensibility in dramatic, but always appropriate, fashion. Though Newman is celebrated today for his great portraiture, his still lifes, architectural studies, and earliest portraits, often of anonymous people in the street, are far less known, though they can well compare with the best in these genres.
The exhibition takes stock of the entire range of Newman’s photographic art, showing many fine prints for the first time.
Co-organized by LACMA and the Museo de Arte Moderno (MAM) in Mexico City, In Wonderland is the first large-scale international survey of women surrealist artists in North America. On view at LACMA through May 6, In Wonderland features about 175 works by 47 artists, including Kahlo, Lee Miller, Leonora Carrington, Remedios Varo, Dorothea Tanning, Louise Bourgeois, and more.
Vogue highlights some of the works of the “beautiful dreamers” that can be seen in the exhibition.
Co-curated by Dr. Ilene Susan Fort, LACMA’s Gail and John Liebes Curator of American Art, and Tere Arcq, MAM’s Adjunct Curator, the exhibition will also travel to the Musée national des beaux-arts du Québec, from June 7 to September 3; and the Museo de Arte Moderno in Mexico City, from September 27 through January 13, 2013.
Kahlo (1907 – 1954) taught herself how to paint after she was severely injured in an accident at the age of 18. For Kahlo, painting became an act of cathartic ritual, and her symbolic images portray a cycle of pain, death, and rebirth.
Kahlo’s affair in New York City with Hungarian-born photographer Nickolas Muray (1892 – 1965), which ended in 1939, and her divorce from artist Diego Rivera at the end of the year, left her heartbroken and lonely. She produced some of her most powerful and compelling paintings and self-portraits during this time.
Muray purchased Self-Portrait with Thorn Necklace and Hummingbird from Kahlo to help her during a difficult financial period. It is part of the Ransom Center’s Nickolas Muray collection of more than 100 works of modern Mexican art, which was acquired by the Center in 1966. The collection also includes Still Life with Parrott and Fruit (1951) and the drawing Diego y Yo (1930) by Kahlo.
Kahlo scholar and biographer Hayden Herrera spoke about “Frida Kahlo: Her Life and Art” at the Ransom Center in June 2009, referencing sources of inspiration for Kahlo’s art.
Just last week, The Gernsheim Collection, co-published by the Harry Ransom Center and the University of Texas Press, received an Alfred H. Barr Jr. Award, which honors a distinguished catalog in the history of art published during the past year.
To celebrate this recognition, the Ransom Center is offering editor-signed copies of The Gernsheim Collection at a reduced price of $60 through March 15. Orders placed by this date will also include a set of five notecards featuring images from the Gernsheim collection.
Edited by Ransom Center Senior Research Curator Roy Flukinger, The Gernsheim Collection coincided with the Ransom Center’s 2010 exhibition Discovering the Language of Photography: The Gernsheim Collection, which explored the history of photography through the Center’s foundational photography collection. The Gernsheim collection is widely considered one of the most important collections of photography in the world. Amassed by the renowned husband-and-wife team of Helmut and Alison Gernsheim between 1945 and 1963, it contains an unparalleled range of images, beginning with the world’s earliest-known photograph from nature, made by Joseph Nicéphore Niépce in 1826.
The book includes more than 125 full-page plates of images from the collection accompanied by descriptions of each image’s place in the evolution of photography and within the collection.
The offer is available online and in person at the visitor’s desk in the Ransom Center’s lobby through Thursday, March 15.
The publication of The Gernsheim Collection was made possible by the generous support of Janet and Jack Roberts, Jeanne and Van Hoisington, Margaret Hight, William Russell Young III, and the Hite Foundation in memory of Sybil E. Hite.
While visiting the Harry Ransom Center in September 2011, Elliott Erwitt noted that “a good photograph is pretty obvious. It tells you a story very quickly. When it works, that is a good photograph.”
The more than 280 photos of 90 sequences in Erwitt’s new book Sequentially Yours (teNeues, 2011) certainly meet that qualification.
Visit the Ransom Center’s Facebook page to pick your favorite Elliott Erwitt photo for the chance to win a copy of Sequentially Yours.
Publisher teNeues describes Sequentially Yours as Erwitt presenting “a sense of vignettes, each showing a sequence of photographs shot just moments apart. Gifted storyteller that he is, Erwitt gives you a sense of what happens next, the end point being sometimes comic, sometimes poignant, and often with a wink.”
In his more than 60 years as a working photographer, Erwitt has shot iconic images of historical figures and celebrities as well as photographs of ordinary people and everyday occurrences. Sequences in the book reveal a couple’s unsuccessful efforts to close their beach umbrella in windy weather, the interactions of the cast on the film set of The Misfits (1961), and other actions and events.
“In Sequentially Yours, Elliott has created a new form, somewhere between single exposures and film,” writes Marshall Brickman in the foreword. He describes Erwitt as having “… an affection for empty spaces, places where his subjects have been or will be in a moment, or for things or people who just disappear.”
Erwitt has remarked that taking good pictures requires visual sense, including a sense of composition and design. Erwitt’s other essential is curiosity, which is evident in these sequences.
Erwitt is the author of more than 20 photography books, including Photographs and Anti-photographs (Thames & Hudson Ltd, 1972), Personal Exposures (WW Norton & Company, 1989), Personal Best (teNeues, 2006), and Elliott Erwitt’s Paris (teNeues, 2010).
The archive of photographer Elliott Erwitt, which includes more than 50,000 signed photographic prints, is housed at the Ransom Center. The Erwitt materials are currently being prepared for public access.
Last fall, Cambridge University Press published The Letters of Samuel Beckett, Volume 2: 1941–1956. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn, and Lois More Overbeck, the volume is the second in a four-part series offering a comprehensive range of Samuel Beckett’s letters.
In compiling this edition, the editors consulted the Samuel Beckett papers at the Ransom Center, from which more than 15 percent of the letters in this volume were drawn.
“The Letters of Samuel Beckett,” a project of the Emory Laney Graduate School, will result in the publication of two additional volumes that feature Beckett materials from around the world.
The Modern Language Association of America recently announced that the first book in the series, The Letters of Samuel Beckett, Volume 1: 1929–1940, will receive the eleventh Morton N. Cohen Award for a Distinguished Edition of Letters.
The Ransom Center acquired its first substantial group of Beckett books and manuscripts in 1958 and continues to add to its holdings.
Handwritten manuscripts and typescripts make up the bulk of the collection, supplemented by Beckett’s correspondence and a wide range of his writing, including poems, stories, and plays spanning most of his career.
Drafts of both the French En attendant Godot and the English Waiting for Godot are present, as are versions of All That Fall, Comment c’est, Krapp’s Last Tape, and Watt. A handwritten manuscript of Whoroscope, Beckett’s first published poem, is also in the collection.
The Ransom Center’s web exhibition “Fathoms from Anywhere” traces Beckett’s (1906–1989) career, drawing materials from the Ransom Center’s collection.
What’s the result of 565 minutes of interview recordings with 12 people, 480 minutes of b-roll footage, and nine separate music tracks? The answer is a ten-minute video that provides a broad overview of the Ransom Center’s collections, scholarship, conservation, exhibitions, and programs.
Watch the video to hear curators, students, members, and conservators discuss their work and learn how the Center shares and celebrates the creative process. From a Houdini movie poster to letters by Edgar Allan Poe, from Jack Kerouac’s notebook to Robert De Niro’s make-up stills, the video showcases the range of materials that are housed at the Center.
Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.
If you are visiting the Ransom Center this week, here are the holiday hours.
Austin-based Lakes Were Rivers, a group of 11 artists working in photography and video, recently collaborated with the Ransom Center to pair works of its artists with images from the Center’s photography collection, resulting in (Re)Collection, an exhibition in conjunction with the East Austin Studio Tour.
Each artist selected an image from the Ransom’s Center photography collections to be scanned and printed as an 8×10 reproduction. In the exhibition, these collection images are paired with a representative work made by members of Lakes Were Rivers, generating a complex and varied dialogue about the traditions and potential of photography as a medium.
Re(Collection) is on view this Saturday and Sunday, November 19 and 20, from 11 a.m. to 6 p.m. at 1319 Rosewood Avenue. Members of Lakes Were Rivers will serve as gallery attendants and will be available to discuss the show with visitors.
The personal archive of publisher, author, and artist Fleur Cowles (1908–2009) has been donated to the Ransom Center. The materials will be accessible once processed and cataloged, but an initial assessment confirms that the archive is as dynamic as Cowles was herself.
In 1983, Cowles celebrated the publication of The Flower Game, a book that shared hundreds of responses from friends around the world, all answering the question of what ten flowers they would like to take to a lonely island, assuming anything would grow there.
When soliciting friends, Cowles wrote, “The replies will determine the best loved flowers everywhere (I am writing to many places around the world).”
Participants ranged from European to Hollywood royalty, proving that Cowles didn’t limit herself to a continent nor to small social circles. A detailed chart documents the progress of Cowles’s initiative, revealing the friends invited to participate and the dates for solicitation and receipt.
Just as these responses provide insight into Cowles’s broad personal and professional network, the hundreds of typed and handwritten, signed responses represent just a small fraction of the correspondence found in the archive.
Below are highlights from a handful of the participants.
Photographer Beaton provided not only his list of flowers but also a handwritten note stating “Any large white orchid of any variety, as long as it is white.”
Actress Bergen’s list included wisteria and night-blooming jasmine, and she elaborated on her selections: “Flowers to see and smell—by day and night—that bloom underfoot and hang overhead, plus a few insect escorts—butterflies and caterpillars, the odd ladybug—for company.”
November 28, 1981
Olivia de Havilland:
Actress de Havilland gave herself an hour to construct her list, which contained water lilies, blue bells, and peonies.
Actor Fairbanks’s list includes a reference to his trademark carnation. Topping his list at number one is “The dark red (or Harvard red) carnation, as I have worn one in my button-hole actually since I have had a button-hole.”
March 6, 1979
The challenge of selecting flowers was difficult for anthropologist Goodall, who wrote, “The first 6 flowers were very easy to chose—but the last 4 were much harder. Not because it is difficult to think of 4 flowers one loves, but because it is difficult to reject others.”
February 27, 1979
Princess Grace of Monaco:
Listed among her favorite flowers, Princess Grace included bamboo, noting, “I hope you will accept bamboo although I have never seen it flower.”
March 7, 1979
Among his list of flowers, designer and interior decorator Hicks includes datura, hyacinth, and tuberose.
July 8, 1980
Lady Bird Johnson:
Former First Lady “Lady Bird” Johnson touted resilient flowers, claiming “Since I am an intensely practical person, I would choose flowers which give the most results for the least work and Zinnias and Marigolds and white Daisies would have to be on my list of favorite flowers. In my lifetime experience, I have found them to be so hardy and they give a great profusion of color over long weeks—I’ve always saluted their generosity!”
February 8, 1979
Actor Olivier’s list focused on roses. He wrote, “At the moment my gardening mind is filled with roses, so let me offer you a dozen of these.” Some of the varieties included Papa Meilland, Panorama Holiday (an exquisite pink, commonly named Beautiful Flower) and Blue Moon.
August 10, 1981
Former First Lady Nancy Reagan’s list included sweet peas, freesia, and violets.
Journalist Smith, a native Texan, elaborated on her list, “But my favorites, the ones I would have to have, are the lovelies—the wildflowers of Texas: Bluebonnets, winecups, Indian paintbrush, wild daisies, wild poppies—a collage of color and nostalgia.”
June 10, 1980
Among some of the Mexican artist’s favorites, Tamayo includes the calla lily, hibiscus, and the yucca.
April 3, 1979
Please click the thumbnails to view larger images.