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Registration opens for photography symposium “Magnum Photos into the Digital Age”

Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.
Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.

The Harry Ransom Center presents the symposium “Magnum Photos into the Digital Age.” Scheduled for October 25–27, the symposium will be held in conjunction with the Ransom Center’s upcoming fall exhibition Radical Transformation: Magnum Photos into the Digital Age.

The symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding.

Symposium registration information, including registration, is available online.

Twelve Magnum photographers — Christopher Anderson, Bruno Barbey, Thomas Dworzak, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alec Soth, Chris Steele-Perkins, and Donovan Wylie — as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear in panel discussions with a focus on the cooperative’s evolution and future.

Panel moderators will be Kristen Lubben, associate curator at the International Center of Photography, New York; Anne Wilkes Tucker, Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston; David Little, curator of photography and new media at the Minneapolis Institute of Arts; Stuart Alexander, independent curator and international specialist, photographs, Christie’s, New York; and Jessica S. McDonald, Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Ransom Center. They will be joined by keynote speaker Fred Ritchin, a professor of photography and imaging at New York University’s (NYU) Tisch School of the Arts and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program.

The Magnum Photos Inc. photography collection resides at the Ransom Center courtesy of MSD Capital, Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.

Memory as source in Jayne Anne Phillips’s “Machine Dreams”

Known for the family dynamics she enmeshes in her work, Jayne Anne Phillips uses her own family history as a source for character and plot development in her debut novel Machine Dreams (1984). Phillips chronicles one family, the Hampsons, to explore narratives that span from the years leading up to World War II through the Vietnam War.

Phillips’s papers, which are now accessible at the Ransom Center, include letters, travel ephemera, army pamphlets, and public service announcements. Drawing on wartime and post-war letters written by her father, and addressed to his aunt, Phillips captures the distress of mid-twentieth-century America. The letters also inform character development in Machine Dreams.

Phillips incorporates specific language and usage from the letters throughout the novel. Her father continually sends love to “the kids,” but seldom makes specific mention of the names of his young cousins. Borrowing this language in a chapter titled “The House at Night,” Phillips writes:

“She heard faintly her brother breathe and whimper; in these summer days the artificial disruption of school was forgotten and the fifteen months of age separating them disappeared; they existed between their parents as one shadow, the kids, and they fought and conspired with no recognition of separation.”

Seeing Phillips’s papers is like gaining access to an era of American life. Family photographs in the archive supplement the early drafts of Machine Dreams, which Phillips scribbled in spiral notebooks. Annotations on photographs give meaning to otherwise nameless faces, revealing the ways Phillips develops her characters and narratives. It appears that personal relics guide Phillips’s process in the most intimate of ways—through family memories.

Phillips was a finalist for the 2009 National Book Award for her novel Lark & Termite and is the author of MotherKind (2000), Shelter (1994), Black Tickets (1979), and Fast Lanes (1984).

Related content:

Listen to Jayne Anne Phillips read an excerpt from Lark & Termite

View a list of books that Jayne Anne Phillips recommends

 

Please click on the thumbnails below to view full-size images.

 

Beat Generation poet Peter Orlovsky’s archive acquired

Peter Orlovsky’s notebook titled Rolling Thunder, Oct. 29, 1975.
Peter Orlovsky’s notebook titled Rolling Thunder, Oct. 29, 1975.

The Harry Ransom Center has acquired the archive of American poet Peter Orlovsky (1933–2010), an important figure in the Beat Generation.

Orlovsky was the companion of fellow poet Allen Ginsberg for more than 40 years, and his papers reflect significant aspects of their relationship. Orlovsky’s collection comprises manuscripts, journals and notebooks, correspondence, tape recordings, photographs, and other personal documents, including unpublished poetry and prose works.

Around the time that Orlovsky met Ginsberg, he began to keep a journal, filling more than 140 notebooks before his death. Some of Orlovsky’s published poems appear in the journals, yet none of the journals have been published.

Correspondence in the collection highlights Orlovsky’s many connections with other poets, authors, and artists. There are more than 1,600 letters written to Orlovsky and/or Ginsberg, including 165 letters written by Ginsberg himself. Some notable correspondents include Gregory Corso, Lawrence Ferlinghetti, Ken Kesey, and Robert LaVigne. Orlovsky also wrote regularly to his parents and siblings, and more than 65 of his letters are included in the archive.

The collection features more than 2,650 photographs taken by or of Orlovsky, documenting the years between 1970 and 2010. Also included are eight reel-to-reel tapes from the 1960s and more than 120 audiocassettes made by Orlovsky during the 1970s and 1980s, some recording conversations with Ginsberg.

The Ransom Center has extensive collections of Beat Generation writers, including materials related to William S. Burroughs, Neal Cassady, Corso , Ginsberg, and Jack Kerouac.

The Orlovsky materials will be accessible once processed and cataloged.

Related content:
Ransom Center Humanities Coordinator Gregory Curtis writes about a piece of correspondence in the archive, revealing how a misunderstanding began between Allen Ginsberg and Diana Trilling.

Austin Critics' Table Awards recognize two exhibitions

The exhibition "I Have the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.
The exhibition "I Have the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.

The Harry Ransom Center was honored this week by the Austin Critics’ Table Awards in the categories “Museum Exhibition” for I Have Seen the Future: Norman Bel Geddes Designs America and “Touring Show, Art” for Arnold Newman:Masterclass. For more than 20 years, the Austin Critics’ Table Awards have celebrated achievement in the arts disciplines. An informal group of critics annually recognize Austin’s art successes, ranging from visual art to theater.

View a list of the diverse recipients.

More than 65 research fellowships awarded

James H. 'Jimmy' Hare crossing the Piave river, 1918, lantern slide; Gordon Conway, 'Red Cross Girl' illustration for Vanity Fair, 1918; Bob Landry, film still from 'A Farewell to Arms,' 1957; Erich Maria Remarque, 'All Quiet on the Western Front,' 1930; Lucile Patterson, National League for Woman's Service World War I military recruiting poster.
James H. 'Jimmy' Hare crossing the Piave river, 1918, lantern slide; Gordon Conway, 'Red Cross Girl' illustration for Vanity Fair, 1918; Bob Landry, film still from 'A Farewell to Arms,' 1957; Erich Maria Remarque, 'All Quiet on the Western Front,' 1930; Lucile Patterson, National League for Woman's Service World War I military recruiting poster.

The Harry Ransom Center has awarded more than 65 research fellowships for 2013-14.

The fellowships support research projects in the humanities that require substantial on-site use of the Center’s collections of manuscripts, rare books, film, photography, art, and performing arts materials.

The fellowship recipients, half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “Postirony: Countercultural Fictions from Hipster to Coolhunter,” “Elliott Erwitt: Early Work,” “Obsession: The Films of Brian De Palma,” “David Foster Wallace: The Form of His Fiction,” “Matisse’s Illustrations for Ulysses,” and “Doris Lessing’s Intuitive Style.”

“Support of scholarly research is one of the primary goals of the Ransom Center,” said Director Thomas F. Staley. “With what has become one of the largest fellowship programs of its kind, we encourage scholars from around the world to make new discoveries about the writers and artists who have shaped our culture.”

The fellowships range from one to three months in duration and provide $3,000 of support per month. Travel stipends and dissertation fellowships are also awarded.

The stipends are funded by individual donors and organizations, including the Andrew W. Mellon Foundation, the Hobby Family Foundation, the Dorot Foundation, the American Society for Eighteenth-Century Studies, the Schusterman Center for Jewish Studies at The University of Texas at Austin and The University of Texas at Austin Office of Graduate Studies.

University appoints new director of the Ransom Center

Photo of Stephen Enniss by Julie Ainsworth/Folger Shakespeare Library.
Photo of Stephen Enniss by Julie Ainsworth/Folger Shakespeare Library.

The University of Texas at Austin has appointed head librarian of the Folger Shakespeare Library Stephen Enniss as the new director of the Ransom Center.

Enniss will take over the duties of current Director Thomas F. Staley, who will retire August 31. Staley, who has been responsible for scores of notable acquisitions and the Center’s enormous growth during his 25-year tenure, had announced plans to retire in 2011, but later agreed to postpone his retirement date. Staley, who is also the Harry Huntt Ransom Chair in Liberal Arts, will remain on faculty and plans to teach in the College of Liberal Arts. Enniss will start at the Ransom Center on August 1.

Enniss will be the seventh director in the Ransom Center’s 56-year history.

Short story author Andre Dubus’s papers open for research

A journal from Dubus's archive. Photo by Anthony Maddaloni.
A journal from Dubus's archive. Photo by Anthony Maddaloni.

In 1958, Andre Dubus graduated from McNeese State University in Louisiana and joined the U. S. Marine Corps, thinking it would be “a romantic way to make a living as a writer.” Buoyed by a distinctive voice and a natural ebullience, Dubus’s work enjoyed moderate initial success. After six years in the Marines, he entered the Iowa Writers’ Workshop at the University of Iowa, received his MFA, and completed his first and only novel, The Lieutenant. From then on, he devoted himself to the art of the short story.

But it was tragedy that spurred his transformation as a writer and brought his works a broader readership. In 1986, on a highway outside of Boston, he stopped to help two motorists who had stalled in the middle of the lane. A passing car struck Dubus, severely injuring both his legs, one of which required amputation above the knee. He spent the remainder of his life in a wheelchair. Following the accident, his marriage ended, and he battled with depression.

Fortunately, Dubus continued to write after his injury, and the result was met with much critical acclaim. The notebooks Dubus kept while recovering in the hospital—which include drafts of stories—are just a few of the items found in Dubus’s archive, which has opened for research at the Ransom Center.

To help with Dubus’s mounting medical bills, a group of authors including Kurt Vonnegut, John Irving, Ann Beattie, John Updike, Richard Yates, and Tim O’Brien read from their works in a public benefit for Dubus. He later wrote to thank the participants because they “made me feel, during a very bad time, that I had hundreds of friends I didn’t even know.” In 1988, he published a book of Selected Stories and won a MacArthur fellowship. Three years later, he published a collection of essays titled Broken Vessels, many of which focus on the accident and aftermath. In a 1996 interview, he said, ”My condition increased my empathy and rid me of my fear of disability and misfortune.”

In addition to his notebooks of drafts and short story ideas, the papers of the Dubus collection include family correspondence and a series of journals chronicling his thoughts, personal and religious exercises, and housekeeping notes. The items span from 1925 to 2001.

His son, Andre Dubus III, a graduate of The University of Texas at Austin and fellow author, spoke of his father’s affinity for the city and university where his papers are now housed. Dubus received from his son a LONGHORNS DAD sticker, which he applied to the back of his writing chair. The younger Dubus reflects: “Sometimes I’d walk into his room before he was finished working, and I’d see my Longhorn father hunched over his desk, writing slowly in pen into a bound notebook, composing one of his masterful stories, all of which will now be in Austin.”

"Martin Scorsese" exhibition features items from Ransom Center

Makeup stills from "Raging Bull."
Makeup stills from "Raging Bull."

Martin Scorsese’s influential filmmaking legacy is the focus of a new exhibition, aptly titled Martin Scorsese, at the Deutsche Kinemathek—Museum für Film und Fernsehen in Berlin. The exhibition, which opened in January and runs through May 12, purports to examine “the rich spectrum of Scorsese’s oeuvre,” including his sources of inspiration, working methods, and lasting contributions to American cinema. The Ransom Center loaned 19 items from the Robert De Niro and Paul Schrader archives to supplement materials from Scorsese’s private collection. Together, they constitute the first international exhibition about Scorsese.

Martin Charles Scorsese grew up in New York’s Little Italy neighborhood in the 1950s, surrounded by a large Italian family and the high-pressure world faced by working-class immigrants. While life on the streets proceeded according to the rules of local gangsters, Scorsese’s asthma kept him largely confined to the house; he followed the outside world from his perch at the window. His older brother Frank recalls: “Marty had a tough childhood. But I used to keep him close. Take him to movies.”

The role of family, blood kin or otherwise, has been a central theme in Scorsese’s works, starting with the short films he made as a student. Throughout his career, he repeatedly cast family members as extras. Brotherly relationships are particularly prominent in Scorsese films, perhaps a product of growing up with tight bonds to his own brothers, or of the close partnerships he had with friends like Robert De Niro. For example, Scorsese’s 1980 film Raging Bull features brothers Jake La Motta (Robert De Niro) and Joey (Joe Pesci) as a New York boxer and his manager, respectively. Six Ransom Center items related to Raging Bull appear in the exhibition, including De Niro’s boxing gloves and trunks, and makeup test photographs with De Niro’s annotations.

Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.
Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.

Scorsese’s extensive knowledge of film history has undoubtedly reinforced his talents as a filmmaker. His 1991 remake of Cape Fear, originally a 1962 thriller directed by J. Lee Thompson, was met with positive critical reception, even inspiring a parody episode of The Simpsons. De Niro received Academy Award and Golden Globe nominations for Best Actor for his role in the film. Five items related to Cape Fear are featured at the Deutsche Kinemathek.

The exhibition pays tribute not only to Scorsese’s legacy as an American cinematic icon, but also to his commitment to the preservation of our international film heritage. The items on display are a testament to the enduring presence of film history as a referential guide for the ever-changing medium.

Ransom Center to offer summer undergraduate internships

Former undergraduate intern Rachel Platis worked on selecting photographs for an exhibition. Photo by Pete Smith.
Former undergraduate intern Rachel Platis worked on selecting photographs for an exhibition. Photo by Pete Smith.

The Harry Ransom Center will support six undergraduate internships during the summer of 2013, four from The University of Texas at Austin and two from another accredited college or university.

The 14-hour-per-week positions will provide undergraduates with a hands-on and behind-the-scenes look at the operation of a humanities research center. Selected interns will choose from a variety of opportunities within the Center, including working with archives, exhibitions, marketing, public affairs, and curatorial departments of art, film, manuscripts, performing arts, photography, and rare books.

Learn more about the internships and application process. March 15 is the deadline to apply.

The internships will begin on June 10 and end August 16, 2013.

The Creekmore and Adele Fath Charitable Foundation has provided generous funding for these internships.

“On the Road” actors used audio recordings from Ransom Center’s collections to prepare for roles

The cover of a journal Jack Kerouac kept from 1948-49 while preparing to write "On the Road."
The cover of a journal Jack Kerouac kept from 1948-49 while preparing to write "On the Road."

The film On the Road, an adaptation of Jack Kerouac’s acclaimed novel of the same name, opens in theaters today. The Ransom Center holds a number of items related to the lives and works of the “Beat Generation” artists, including a journal Kerouac kept from 1948 to 1949 while preparing to write On the Road. In July 2010, a producer for the film contacted the Ransom Center with a request to help the actors access Beat culture and their characters’ personalities.

Kristen Stewart, best known for her role in the Twilight films, stars in On the Road as Marylou, a character based on Kerouac’s friend LuAnne Henderson. Kerouac once described Henderson as a “nymph with waist-length dirty blond hair,” but Stewart was eager to develop a more personal understanding of Henderson. Stewart, who said in an interview at the Toronto International Film Festival that On the Road has been her favorite book since she was 15, wanted to do Marylou justice.

To help with Stewart’s research, On the Road personnel requested a digitized copy of an interview with Henderson from the Ransom Center collections. Listening to Henderson offers a more personal understanding of her alter ego, Marylou, who remains something of an enigma. Stewart told CTV’s Canada AM, “[Marylou] is sort of, in the book, on the outskirts of things. You don’t know what’s going on inside her all the time.”

The interview was part of Barry Gifford and Lawrence Lee’s research for their oral biography of Kerouac, titled Jack’s Book and published in 1978. (Their research materials reside at the Ransom Center.) Gifford also served as a consultant on the film. In the interview, Henderson recalls her passionate but unpredictable relationship with Neal Cassady, whom she married at age 15. Cassady was the inspiration for the character Dean Moriarty in Kerouac’s novel, played in the film adaptation by Garrett Hedlund.

Despite opening the interview with a disclaimer that her “memory is really lousy,” Henderson’s stories are captivating. The episodes she recalls involve drama with Cassady’s ex-girlfriends, her experiences hitchhiking, and run-ins with the police. Henderson also reveals a more intimate and intellectual side to her relationship with Cassady. She remembers, “At night Neal would read me Shakespeare and Proust and whatever he was into.”

The Beats’ travels have acquired legendary status, which undoubtedly puts pressure on actors hoping to portray them convincingly and accurately. Fifty-five years after On the Road was published, archival materials offer the insight to help achieve precisely that.