The Ransom Center launched updated websites for its two permanent exhibitions, the Gutenberg Bible and the First Photograph. The websites contain information, interactive components, and content geared toward children related to each exhibition.
The Gutenberg Bible is the first substantial book printed from movable type on a printing press. It was printed in Johann Gutenberg’s shop in Mainz, Germany, between 1450 and 1455. View a video demonstrating Gutenberg’s printing process.
Gutenberg’s invention revolutionized the distribution of knowledge by making it possible to produce many accurate copies of a single work in a relatively short amount of time. View a map that shows the spread of printing after Gutenberg.
Visitors can turn the pages of the Gutenberg Bible, view the pages in high-resolution, and browse by Books of the Bible or page characteristics, including famous passages, illuminations, and watermarks.
The Ransom Center holds one of five complete copies in the United States. View a map of where the other Gutenberg Bibles are housed.
The First Photograph, which Frenchman Joseph Nicéphore Niépce produced in 1826, is the foundation of the Ransom Center’s photography collection. The 8 x 6.5-inch heliograph depicts a view just outside the workroom window of Niépce’s estate in Le Gras in east central France.
Website visitors can watch an animated video showing how the First Photograph was made as well as create a virtual heliograph of themselves using a webcam; the virtual heliograph image replicates the photographic technique used to create the First Photograph.
In “Technology: No Place For Wimps,” Ransom Center Senior Research Curator of Photography Roy Flukinger joins Carol Henry, fine-art photographer, and James M. Reilly, founder and director of the Image Performance Institute at the Rochester Institute of Technology, in a discussion about photography in the digital age. The discussion, which appears in The Getty Conservation Institute newsletter Conservation Perspectives, features a question and answer session with the three experts and highlights the ways in which photographers, conservators, and curators respond to the challenges posed by a rapidly changing medium. Flukinger, Henry, and Reilly spoke with Dusan Stulik, a Getty Conservation Institute senior scientist, and Jeffrey Levin, editor of the Institute’s newsletter.
This exhibition explores the career of photographer Arnold Newman (1918–2006), who created iconic portraits of some of the most influential innovators, celebrities, and cultural figures of the twentieth century. Newman’s archive resides at the Ransom Center.
A bold modernist with a superb sense of compositional geometry, Newman is known for a crisp, spare style that situates his subjects in their personal surroundings rather than in a photographer’s studio. Marlene Dietrich, Harry Truman, John F. Kennedy, Arthur Miller, Salvador Dalí, and Pablo Picasso are only a few of his celebrated sitters. Featuring more than 200 of these well-known masterworks, Arnold Newman: Masterclass also includes rarely seen work prints and contact sheets.
The first major exhibition of the photographer’s work since his death, Arnold Newman: Masterclass showcases the entire range of Newman’s photography, featuring many prints for the first time.
Admission to the exhibition is free, but donations are welcome. Free docent-led tours of the exhibition are offered Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.
The exhibition can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.
Become a member now to receive complimentary admission and valet parking at “Face to Face,” the opening celebration for the photography exhibition Arnold Newman: Masterclass. If you are not yet a member, you may purchase individual tickets for $20 (valet parking not included) at the door.
The galleries are being transformed in preparation for the Ransom Center’s new photography exhibition Arnold Newman: Masterclass. We hope you will join us for “Face to Face,” the opening celebration for the exhibition from 7 to 9 p.m. on Friday, February 15.
Sip on refreshments from Austin Wine Merchant and Dripping Springs Vodka, pose in an Arnold Newman-inspired analog photo booth created by the Lomography Gallery Store, enjoy treats at The Cupcake Bar’s dessert station, and view screenings of Arnold Newman interviews and film clips.
Be among the first to explore photographer Arnold Newman’s iconic portraits of celebrities and cultural figures including John F. Kennedy, Salvador Dalí, Ansel Adams, and Pablo Picasso, among others. Newman’s archive resides at the Ransom Center.
Guests will have the opportunity to enter a drawing for a Newman-inspired prize package that includes brunch for two at Fonda San Miguel, a stay at the Heywood Hotel in East Austin, a darkroom class with photographer Anthony Maddaloni, a Lomography camera, a membership to Austin Center for Photography, and more.
Ransom Center members enjoy complimentary admission and valet parking at this event. If you are not yet a member, you may join or order individual $20 tickets at the door. Tickets are also available online until Friday, February 8. Valet parking is not included for non-members.
The Ransom Center is giving away a pair of tickets to “Face to Face.” Email email@example.com with “Arnold Newman” 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 on Monday, February 11.
Special thanks to these sponsors: Anthony Maddaloni Photography, Austin Center for Photography, Austin Wine Merchant, Dripping Springs Vodka, Fonda San Miguel, Heywood Hotel, Lomography Gallery Store, and Thames & Hudson.
Margaret Denny received a Marlene Nathan Meyerson Photography Fellowship to conduct research in the Ransom Center’s Gernsheim collection. Below she shares some of her findings at the Ransom Center.
During the past decade, I have conducted primary research on Victorian women in photography, an investigation that culminated in my dissertation From Commerce to Art: American Women Photographers 1850–1900 (University of Illinois at Chicago, 2010).
My current project For Love and Money: Victorian women photographers in and beyond the studio follows a select group of nineteenth-century American and British women photographers operating in the commercial realm of advertising, photojournalism, studio portraiture, and travel photography. The importance of this investigation is that current scholarship on the history of photography has diminished the importance of commercial work; it likewise has overlooked women in the commercial sphere.
With a fellowship at the Ransom Center, I have progressed closer to realizing my project as a publication. In pondering this experience, several impressions stand out—the Center as a rich repository of photographs and ephemeral materials, and, co-equal, the Center’s proficient staff members and systems that provide a stimulating, nurturing, and collegial environment in which to explore one’s topic. Through the proficient and patient stewardship of Emilio Banda and suggestions proposed by Senior Research Curator Roy Flukinger and Associate Curator of Photography Linda Briscoe Myers, I was able to navigate smoothly through box upon box of photographs, biographical material, and memorabilia. Even the tradition of weekly coffees and a brown bag lunch for fellows offers scholars and staff opportunities to exchange insights and information.
The Gernsheim collection of Victorian and Edwardian photography amassed by Helmut and Allison Gernsheim in England at the end of World War II and purchased by the Harry Ransom Center in 1963 became the focus for this study. The collection holdings present a rich glimpse into elite British society through the studio portrait practice of Alice Hughes. I viewed the wealth and breadth of photographs made by Hughes at the turn of the twentieth century in her London studio. Having researched Hughes at the National Portrait Gallery in London, it was beneficial to evaluate this expansive number of photographs to build on my earlier inquiry.
Another chronicler of Britain’s elites, Kate Pragnell operated commercially in London in the 1890s. The Center’s illustrated article on Pragnell showed her photography in more of its original context. The fact that Pragnell hired only women workers in her studio and wrote about her practice makes her an interesting case study. These British women will be compared with the American photographers Frances Benjamin Johnston and Gertrude Käsebier as they shared the experience of being middle- to upper-class women who chose photography as a vocation. To investigate the media treatment of American and British women photographers, I reviewed issues of The Photogram published in England between 1894 and 1905 by American Catharine Weed Barnes Ward and her British husband H. Snowden Ward. Likewise, as a comparison to understanding opinions emanating from other journals of photography, I examined the issues of Alfred Stieglitz’s Camera Work, published from 1903 to 1917.
Equally germane to my investigation, the Center’s holdings contain over 350 photographs by British photojournalist Christina Broom. A documentarian of Edwardian fame, Broom photographed important British events from military maneuvers to Royal pageantry, most printed as picture postcards, a business that supported her family facing the loss of household income after her husband’s accident. In my project, Broom will be compared to Frances Benjamin Johnston, who operated as a photojournalist working with Bain News Service in America. Johnston’s assignments took her to Naples, Italy, where she photographed Admiral Dewey and his U.S.S. Olympia crew following their successful campaign in the Philippines during the Spanish American War. Equally notable, Johnston was the last photographer to photograph President McKinley, 17 minutes before his assassination in 1901.
As a seasoned researcher at a number of institutional archives, I feel the time spent at the Ransom Center put me in a more positive position to take my findings to publication. Because the staff made research suggestions beyond my original itinerary, I will be able to incorporate even more information in the study. As I continue to research the topic of women photographers of the Victorian Era into the Edwardian period, my larger goal is to develop the information into book format supported by a traveling exhibition. Having the opportunity to conduct research at the Ransom Center and to develop the narrative of women in the commercial realm of photography places me one step closer toward the realization of this major undertaking.
LightBox, TIME’s photography blog, included the anthology Nathan Lyons: Selected Essays, Lectures, and Interviews (University of Texas Press, 2012) as one of its “2012 photobooks of the year.”
Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography, edited the anthology, which provided the first comprehensive overview of Lyons’s career as one of the most important voices in American photography.
In anticipation of Lyons’s November 8, 2012, visit to the Ransom Center, McDonald shared insight about the photographer, curator, and educator.
Nathan Lyons: Selected Essays, Lectures, and Interviews is available online through University of Texas Press.
Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography, speaks with photographer, curator, and educator Nathan Lyons about his career and role in the expansion of American photography on this Thursday, November 8, at 7 p.m.
McDonald edited the anthology Nathan Lyons: Selected Essays, Lectures, and Interviews (UT Press, 2012), which provides the first comprehensive overview of Lyons’s career as one of the most important voices in American photography. Below, McDonald shares insight about Lyons.
A relative newcomer to the arts and humanities, photography’s history is still largely uncharted, contested, and complex. The full impact of major figures on the development of this young field, especially during the American “photo boom” of the 1960s and 1970s, has not yet been accounted for. The historical complexity of this era became especially fascinating to me during my tenure in the Department of Photographs at George Eastman House, the museum of photography and film in Rochester, New York, that was a key center of creative and intellectual activity when few other museums collected photographs.
In Rochester I met Nathan Lyons, a figure who has had an inestimable impact on the history of photography in the United States and its expansion over the last five decades. As a curator at Eastman House in the 1960s, Lyons organized some of the most groundbreaking and ambitious exhibitions of the time, and he later founded the Visual Studies Workshop, an independent arts organization and graduate program that trainedthe next generation of photographers, critics, curators, and historians. Lyons played a role in founding many of photography’s important organizations, including the Society for Photographic Education, and consistently advocated for photographers to funding agencies such as the National Endowment for the Arts. All the while he was an active photographer, exhibiting his work at nearly every major U. S. museum and publishing several volumes of his own photographs, including Notations in Passing (1974) and Riding 1st Class on the Titanic! (1999).
In 2008 I began formally researching his role in American photography, and with his cooperation—including generous access to his files and countless interviews—I put together a volume of his photographs and writings. Lyons will join me in conversation at the Harry Ransom Center this Thursday to celebrate the publication of Nathan Lyons: Selected Essays, Lectures, and Interviews, published this year by UT Press. The presentation will combine photographs representing Lyons’s artistic development with a discussion of his pivotal essays and lectures. We will also consider contributions from important scholars in the field who have written on Lyons’s work as an artist, his influence as a curator, and his widespread impact as an educator. A book signing follows.
The program will be webcast live Thursday starting at 7 p.m. CST.
In February 2013, the Harry Ransom Center will host the first U.S. showing of the exhibition Arnold Newman: Masterclass, a posthumous retrospective of photographer Arnold Newman (1918–2006).
The exhibition was organized by the American nonprofit organization Foundation for the Exhibition of Photography (FEP) in collaboration with the Ransom Center. The show, curated by FEP’s William Ewing, highlights 200 framed vintage prints spanning Newman’s career, selected from the privately held Arnold Newman Archive and the collections of major American museums and private collectors. Twenty-eight photographs from the Ransom Center’s Newman archive are featured in the exhibition.
Newman’s subjects included world leaders, authors, artists, musicians, and scientists—Pablo Picasso in his studio; Igor Stravinsky sitting at the piano; Truman Capote lounging on his sofa; and Otto Frank, father of Anne Frank, in the attic where his family hid from the Nazis for more than two years.
Complementing the exhibition is Ewing’s Masterclass: Arnold Newman (Thames & Hudson Inc., New York), which pays homage to Newman and includes more than 200 photographs, four essays, and short biographies of Newman’s sitters. Essay contributors include Ewing; David Coleman, director of the Witliff Collections at Texas State University and former curator of photography at the Ransom Center; and Arthur Ollman, professor at San Diego State University and curator of many exhibitions produced in collaboration with Newman.
Recently, the Wall Street Journal’s “Photo-Op: Chair Man” highlighted the book with Newman’s photo of Charles Eames in his studio.
The First Photograph will be loaned, along with 119 other images and photography-related items from the Harry Ransom Center’s Gernsheim collection, to the Reiss Englehorn Museum in Mannheim, Germany, for the exhibition “The Birth of Photography-Highlights of the Helmut Gernsheim Collection.” The exhibition runs from September 9 through January 6, 2013.
The First Photograph has been removed from display at the Ransom Center to be prepared for its departure in July. The First Photograph will be back on display at the Ransom Center in February 2013.
The First Photograph was acquired by the Ransom Center as part of the Gernsheim collection from Helmut and Alison Gernsheim in 1963. Taken in 1826 or 1827, Joseph Nicéphore Niépce’s View from the Window at Le Gras depicts the view from an upstairs window at Niépce’s estate, Le Gras, which is in the Burgundy region of France. Niépce’s photograph represents the foundation of today’s photography, film, and other media arts.
The First Photograph forms the cornerstone of Helmut Gernsheim’s photographic collection, which was the largest in the world when the Ransom Center acquired it in 1963. The Gernsheim collection is one of the seminal collections in the United States of the history of photography and contains an unparalleled range of more than 35,000 images. Its encyclopedic scope—as well as the expertise with which the Gernsheims assembled the collection — makes the Gernsheim collection one of the world’s premier sources for the study and appreciation of photography
In 2002, the Forum International Photographie at the Reiss Engelhorn Museum acquired Gernsheim’s later collection of contemporary photography, along with his own photographs and archive. For the first time in half a century, major portions of both Gernsheim collections are being reunited: the historical material housed in the Ransom Center and the contemporary collection in the Forum International Photographie at the Reiss Engelhorn Museum.
While the First Photograph is on loan, the photographic print View from the Window at Le Gras, 1826, 2009 by Adam Schreiber will occupy the display in the Ransom Center’s lobby. The photograph depicts the Niepce plate in situ in the museum display, as photographed by Schreiber in 2009. Schreiber is a member of the Lakes Were Rivers artist collective, a group of artists who work primarily in photography and video. In summer 2013, the Ransom Center will host an exhibition in which members of the collective will display their original works paired with Ransom Center collection material that inspired them.
The Ransom Center has appointed Jessica S. McDonald, a curator of photography at the San Francisco Museum of Modern Art, as its new chief curator of photography. McDonald begins her position at the Ransom Center in September.
As the Nancy Inman and Marlene Nathan Meyerson Curator of Photography, McDonald will oversee a collection that spans from the world’s earliest-known photograph to prints from some of the great masters of the twenty-first century. The Center’s photography holdings include the Helmut and Alison Gernsheim collection, a seminal collection of the history of photography and one of the world’s premier sources for the study and appreciation of photography.
In addition to the history of photography, the Ransom Center’s photography collection focuses on photojournalism and documentary photography, with holdings of more than 5 million prints and negatives, supplemented by books, manuscripts, journals, and memorabilia of photographers.
“McDonald’s broad experiences — from teaching to curatorial — confirmed that she can lead our photography department, build the collection, support research, and plan exhibitions,” said Ransom Center Director Thomas F. Staley. “The possibilities under her guidance are exciting.”
McDonald’s professional experience includes affiliations with the San Francisco Museum of Modern Art, the Visual Studies Workshop and George Eastman House International Museum of Photography and Film. In 2011, McDonald received an Ansel Adams Research Fellowship from the Center for Creative Photography.