In a stunning break with the black-and-white tradition of war photography, Susan Meiselas’s pulsating color images documenting the resistance against—and ultimate insurrection of—the brutal Somoza dynasty in Nicaragua were published in magazines and newspapers around the world. The revolutionaries quickly appropriated her photographs, adapting them for billboards, postage stamps, posters, and other imagery in support of their cause. In 1981 Meiselas (b. 1948) published her landmark book Nicaragua, June 1978–July 1979, combining photographs, historical documentation, and the personal testimony of Nicaraguans in an attempt to “overcome the sensational quality of fragmentary news reports by placing these events in the context of an evolving political process.” Retracing her steps, she returned to Nicaragua in 1991 for the film Pictures from a Revolution, and again in 2004 for the project Reframing History, an installation of 19 mural-size enlargements of her original photographs at the sites where they were first made, reigniting discussions about the past and reconsiderations of dreams once held of a better future.
For some Magnum photographers, picture stories published in magazines and newspapers represent just the first stage in the development of a much larger project. Some consider the book the ideal platform for extended visual narratives. Conceived independently and conducted outside the traditional framework of photojournalism, books have become a mainstay of documentary practice and an integral part of Magnum’s creative repertoire. Since the agency’s founding, Magnum Photos has published dozens of group projects, and its members have collectively produced over 1,000 volumes that together form both a history of Magnum and a history of the modern world.
Eli Reed has worked as a professional photographer with Magnum Photos since 1988 and as a clinical professor of journalism at The University of Texas at Austin since 2005. To Reed, his success directly results from the simple motivating question, “Why would you want to be less than what you can be?”
Throughout his career, Reed’s understanding of his potential has been bolstered by his active relentlessness. “You’ve got to do this work because you really want to do it,” he said. “It’s not necessarily going to happen easily. It’s not going to happen ‘just because.” Reed’s combined vision and dedication has driven his career from newspaper journalism to international photography in Europe, Africa, Asia, and Central and South America.
Perhaps more significantly, Reed insisted, he knows when to say yes. “You get… in to various situations because of you,” he said, “You make the decisions, and it’s important [to know] when to say yes. We’re all living on borrowed time from the day we’re born to the day we pass away, so what are you going to do before you go?” Reed strives to share this lesson with his students, emphasizing what seems to be his mantra in both photography and life at large: “Awareness is everything.”
It was Reed’s awareness that first led him to Sudan in 2001. The photographer was asked to join a film crew to document the Lost Boys, young refugees from the Second Sudanese Civil War. Although he was already particularly interested in Africa, Reed said the opportunity to travel there arose because he was “paying attention,” and he hopes his audience will do the same. The goal of the photo documentary of the Lost Boys, he explained, is “to educate people” and to spark interest in and action on their behalf. A dozen photographs are on display at the Harry Ransom Center through December 8 in an exhibit entitled Eli Reed: The Lost Boys of Sudan.
Ultimately, all aspects of Reed’s profession stem from a single motivation: to “pass on” information and experience, either through the classroom or professional photography.
“I’ve had a really interesting life,” he said, “I’ve seen a lot of people in different situations… and some terrible things happen, and some wonderful things happen, and it’s called the ‘Circle of Life.’ I can’t think of a better thing to do than, not just to share it, but to help people who are going on into this ‘Brave New World.’”
Donald Albrecht, exhibition organizer and curator of architecture and design at the Museum of the City of New York, discusses industrial designer Norman Bel Geddes’s influence on the American landscape. Albrecht—editor of Norman Bel Geddes Designs America (Abrams)—emphasizes the breadth of the Bel Geddes collection at the Ransom Center, which includes Bel Geddes’s plans and sketches of his futurist visions.
The exhibition Norman Bel Geddes Designs America, which was on view at the Ransom Center in fall 2012, opens at the Museum of the City of New York today. To celebrate this traveling exhibition, the Ransom Center is giving away a free “I Have Seen the Future” totebag to all Ransom Center visitors, while supplies last. The galleries are open from 10 a.m. to 5 p.m. today.
On October 15, a selection of books and artworks associated with artist James Turrell will go on view in the Ransom Center’s third-floor Director’s Gallery. Included in the display is Deep Sky, a suite of seven aquatints that Turrell executed with printer Peter Kneubühler, and that were published by Peter Blum Edition in 1985. The Ransom Center’s edition of Deep Sky is one of several portfolios in the Peter Blum Edition art collection, which showcases Blum’s collaborations with contemporary artists such as John Baldessari, Eric Fischl, and the collective General Idea.
Like many of the artists with whom Blum has worked, Turrell is not best known for his works on paper. Throughout his career, which has spanned half a century, Turrell has made a name for himself constructing spectacular installations that focus on light and space—or more specifically, the way the eye perceives different types of light in different spaces. This past summer, three major U.S. museums mounted simultaneous retrospectives of Turrell’s work, which includes illusionistic light projections and fully immersive spaces that bathe the viewer in colored light. For nearly 35 years, he has been working to transform Roden Crater, an extinct volcano in northern Arizona, into a series of rooms and tunnels that open onto vistas of the desert sky.
In addition to Roden Crater, Turrell has executed scores of site-specific installations all over the world. On The University of Texas at Austin campus, he recently completed a Skyspace entitled The Color Inside, which will open to the public on October 19 as part of the University’s Landmarks program. The work, like all of Turrell’s Skyspaces, is architectural—a structure built with its location in mind—and it is intended to facilitate a specific viewing experience of the sky above. At sunrise and sunset, a carefully programmed sequence of colored LED lights causes the eye to perceive the shifting colors of the sky as a series of dramatically different hues. Emerging from a Skyspace light sequence, a viewer is often more attuned to the surrounding environment—as if the mind, used to believing that the sky is blue without ever taking notice of its true color, has been recalibrated.
For an artist so invested in utilizing light and color as the materials of his art, it is somewhat surprising that the prints in Deep Sky are absent of color. The seven aquatints are meticulously printed, with velvety swaths of black ink and subtle variations of grey. But these prints, which represent seven views of Roden Crater, are explorations of space and scale and how they factor into one’s perception. The prints serve as experimental renderings; they are nearly abstract pictures of how a viewer might apprehend space at Roden Crater.
The catalog published to accompany Turrell’s recent retrospectives includes the artist’s description of a visit to a garden in Japan:
I noticed a small, low, triangular window, which provided another view of the garden. The view opening onto the same part of the garden as a larger window above, except the view was scaled down. The small rocks appeared as mountains, blades of grass became wooded hillsides and the bonsai looked like large trees. The microcosm had become a macrocosm, which perfectly echoed the motifs and forms of the larger view. I then realized that the garden should be viewed from numerous vantage points.
The Deep Sky prints are just a few examples of the numerous vantage points that Turrell has explored in his work with Roden Crater. Ultimately, there is no way to view the site all at once, but in the microcosms represented in these superbly printed aquatints, one can at least begin to understand the completeness of Turrell’s vision.
James Turrell: Deep Sky will be on view in the Director’s Gallery, on the third floor of the Ransom Center, until December 13. The Director’s Gallery is open from 9 a.m. to 5 p.m. Monday through Friday.
Initially drawn to their traditional folk music, Josef Koudelka (b. 1939) photographed the nomadic Romani people—or Gypsies—of Czechoslovakia and Romania for nearly ten years. Most of the photographs in his seminal 1975 book Gypsies were taken in Eastern Slovakia between 1962 and 1968. In his sensitive study of these communities, Koudelka examined the remnants of a threatened way of life after government efforts to assimilate the Gypsies confined them to grim settlements lacking basic utilities or sanitation services. Something of a nomad himself and forced to seek political asylum after escaping the Czech Republic early in his career, Koudelka has often lived as his subjects do, fostering a shared experience and sense of respect that is discernible in his photographs.
In the Ransom Center’s exhibition Radical Transformation: Magnum Photos into the Digital Age,on view through January 5, this photograph is presented with four others from the series, as well as a copy of Koudelka’s book, one of several pioneering publications by Magnum photographers highlighted in the exhibition. There were few publishers for photography books during Magnum’s first decades, but when photography gradually gained widespread acceptance as an art form in the 1970s, publishing houses began to embrace the medium. Photographers aspiring to use the book form to give a more sophisticated account of world events and personal journeys now had more models to guide them. These books employed complex sequencing and innovative combinations of images and text; they displayed a nuanced understanding of layout and design and a standard of printing quality not previously associated with works of reportage.
Robert Capa (1913–1954), proclaimed “The Greatest War Photographer in the World” by the Picture Post in 1938, famously created some of the only surviving photographs of the Allied Invasion of Normandy in 1944. When his rolls of film arrived for development at the Life magazine office in London,a darkroom assistant was told to rush the processing to get the photographs to New York for publication in the next issue. The assistant placed the newly developed film in a drying cabinet on high heat, melting the emulsion on three of the four rolls. Luckily, ten images from the fourth roll were not entirely destroyed and appeared only “slightly out of focus,” the title Capa would cleverly give to his memoir in 1947. The blurred photographs became known for their sense of drama and immediacy, as Life’s story captions falsely attributed the blur to Capa’s trembling hands.
In the Ransom Center’s exhibition Radical Transformation: Magnum Photos into the Digital Age, on view through January 5, this photograph is presented in a way that shows both the front and back of the print. Visitors are able to see the stamps, inscriptions, reference numbers, and notes that trace the trajectory of this individual press print, one of nearly 200,000 recently donated to the Ransom Center. Also on view are four additional photographs from the larger group that constituted Capa’s D-Day picture story, facsimile versions of his handwritten captions submitted to Life magazine, and copies of the June 19, 1944 issue of Life showing how the story was published.
Three years later, Capa and his close friends Henri Cartier-Bresson, George Rodger, and David “Chim” Seymour founded the Magnum Photos agency in the penthouse restaurant of the Museum of Modern Art in New York. (Photographer William Vandivert also joined the group but left after about a year.) These were photographers who had experienced a catastrophic war and were united by their belief in a shared obligation to be the historians of their own causes. Magnum Photos continues to be fully owned and supported by its members, numbering over 100 since its founding in 1947, with offices in New York, Paris, London, and Tokyo.
Photography department intern Josephine Minhinnett contributed to this post.
The Harry Ransom Center is raising $50,000 in 75 days for the Center’s 2014 exhibition The Making of Gone With The Wind. This Hollywood classic premiered in 1939 and will mark its 75th anniversary in 2014.
Film producer David O. Selznick’s 1939 epic film Gone With The Wind was embroiled in controversy before a single frame was shot. Based on the 1936 novel by Margaret Mitchell, the film’s depictions of race, violence, and cultural identity in the South during the U.S. Civil War and Reconstruction continue to both compel and trouble audiences around the world.
The exhibition will reveal surprising new stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released.
The exhibition will include over 300 original items from the Selznick archive housed at the Ransom Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. These recently conserved costumes will be displayed together for the first time in more than 25 years.
Your support will provide funds for outreach, additional docent-led tours, a published exhibition catalog, and complementary programming and presentations. Donors will be acknowledged on the Ransom Center’s website and receive the following:
$10-$499: Commemorative save-the-date postcard with an image from the Ransom Center’s collection.
$500-$999: Complimentary Ransom Center membership for one year, at the dual level, which includes two tickets to the exhibition opening party.
$1,000-$4,999: Complimentary copy of the exhibition catalog.
$5,000+: Special curators’ tour for up to six people.
Enjoy a day of photography at the Ransom Center’s open house on Saturday, September 28 from noon to 5 p.m. Join us for activities including “jet-setter” tours of the current exhibition, Radical Transformation: Magnum Photos into the Digital Age, gallery activities, and mini-tours of the conservation department. Attendees will have the rare opportunity to learn how staff of the Ransom Center preserve and conserve collection materials, including photographs.
Commemorate your visit by posing in a photo booth inspired by the golden age of travel.
On the plaza, enjoy the music of the 1950s and 1960s with GirlFriend. Food trailers including mmmpanadas will have snacks available for purchase.
The first 100 guests will receive a gift bag that includes items from Austinuts, Tommy’s Salsa, Dr. Kracker, Texas Olive Ranch, and more. Maine Root sodas and KIND bars will provide complimentary treats.
The Ransom Center’s pop-up store will feature a merchandise sale, including glass water bottles inspired by the Center’s windows and Magnum Photos-inspired t-shirts, postcards, and publications. Attendees will have the opportunity to win a prize package that includes signed books.
Special thanks to these sponsors and participants: Austinuts, Dr. Kracker, KIND bars, Maine Root Soda, Texas Olive Ranch, and Tommy’s Salsa.
Photojournalist Susan Meiselas broke tradition when she photographed the “people’s revolt” in Nicaragua in color. In 1981, black and white was still the accepted medium in which to depict conflict. Yet, she described the choice as best capturing “the vibrancy and optimism of the resistance.”
Learn more about Meiselas’s photograph and how it influenced Donna DeCesare, award-winning documentary photographer and University of Texas at Austin Associate Professor of Journalism. DeCesare writes about this and other images from the current exhibition Radical Transformation: Magnum Photos into the Digital Age, noting their impact on her photography and teaching.
Radical Transformation: Magnum Photos into the Digital Age, on display at the Ransom Center from September 10 through January 5, explores the evolution of Magnum Photos from print journalism to the digital age, revealing a global cooperative in continual flux, persistently exploring new relationships between photographers, their subjects, and their viewers.
On this Thursday, September 26 at 7 p.m., DeCesare speaks about her new book Unsettled/Desasosiego, which explores the effects of decades of war and gang violence on the lives of youths in Central America and the United States. A book signing follows.
DeCesare was recently honored with a Maria Moors Cabot Prize from the Columbia University Graduate School of Journalism for outstanding reporting on Latin America and the Caribbean.
Enjoy a signature champagne cocktail and hors d’oeuvres at this reception and pose in our photo booth inspired by the golden age of travel. Guests will also have the opportunity to enter to win an exclusive prize package that includes a dinner for two at Uchi, a two-night stay at Hotel San Jose, a handcrafted vintage suitcase, and more. DeeJay jLa will be playing records from the ‘50s and ‘60s, the era of Magnum Photo’s founding, on the plaza.
Be among the first to explore the exhibition, which chronicles the evolution of Magnum Photos, the iconic photography cooperative. Magnum photographers have produced some of the most memorable images of the last century, shaping history and revolutionizing photography’s influence on modern culture.
Ransom Center members receive complimentary entry and valet parking at this celebration. If you are not yet a member, tickets to the opening will be available for $20 at the door (valet parking is not included for non-members).
The Ransom Center is giving away a pair of tickets to “Boundless.” Email firstname.lastname@example.org with your favorite travel destination in the subject line by midnight CST tonight to be entered in a drawing for complimentary admission for two. The winner will be notified by email.
Special thanks to these sponsors: Austin Wine Merchant, Blanton Museum of Art, BookPeople, Dripping Springs Vodka, Hotel San Jose, Shuford Alexander Cases, and Uchi