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In the galleries: Anna Atkins’s “Peacock Feathers” and Anna Krachey’s “Filament”

Anna Krachey, "Filament," 2012. Courtesy of artist.
Anna Krachey, "Filament," 2012. Courtesy of artist.
Anna Atkins, "Peacock Feathers."
Anna Atkins, "Peacock Feathers."

Although Anna Atkins and Anna Krachey share a first name, Krachey acknowledges a much deeper connection. A member of Austin-based artist collective Lakes Were Rivers, Krachey came across Atkins’s work in the Ransom Center’s collections. She noticed an exploration of light, layering, and space that was similar to her own photographic practice.

Such connections form the basis of the Ransom Center’s current exhibition, Contemporary Photographic Practice and the Archive. Created in collaboration with Lakes Were Rivers, the exhibition highlights members’ works that were influenced in some way by the Ransom Center. Approximately 50 new works are displayed alongside Ransom Center collection materials chosen by the artists. The pairings illustrate how archives and cultural collections stimulate new ideas and creative acts.

Atkins, born in 1799 in England, was an amateur botanist. She is known primarily for her thousands of cyanotypes, which often featured marine botanicals and other plants and objects. Peacock Feathers offers an example of the camera-less photographic technique—one that provided a new way of recording scientific specimens, different from the traditional letterpress method.

Krachey recognizes a similarity between Atkins’s choice of subject and her own process of identifying and selecting objects for photographs. She aims to reveal the unfamiliar in everyday objects by creating tension between the natural and the artificial. In her work Filament (2012), she plays with tactility, translucency, and composition, using analog rather than digital photographic methods to manipulate objects and create illusionistic space.

Both Filament and Peacock Feathers are on display through August 4. On this Thursday, July 18, the artists of Lakes Were Rivers will discuss their work at 7 p.m. in the galleries.

In the galleries: Jason Reed’s "Motel, Terlingua" and W. D. Smithers’s "View of Study Butte, Texas"

Jason Reed, "Motel, Terlingua," 2011. Courtesy of artist.
Jason Reed, "Motel, Terlingua," 2011. Courtesy of artist.
W.D. Smithers, "View of Study Butte, Texas," 1932.
W.D. Smithers, "View of Study Butte, Texas," 1932.

As photographer Jason Reed sat in the reading room of the Ransom Center, awaiting a box of Walker Evans photographs, he noticed a binder on the reference shelf nearby. In what he calls a “moment of coincidence,” he picked it up and discovered notes and captions describing photographs of West Texas—both the place he grew up and the area he has spent his life exploring through video and photography.

The binder contained a finding aid to the work of early-twentieth-century photographer W. D. Smithers, whose archive is held by the Ransom Center. Although 80 years separate the two artists, their work shares an uncanny similarity—take Reed’s Motel, Terlingua (2011) and Smithers’s View of Study Butte, Texas (1932) as an example.

The relationship between archives and the work of modern-day artists is the subject of the Ransom Center’s current exhibition Contemporary Photographic Practice and the Archive. Created in conjunction with the Lakes Were Rivers collective, an Austin-based group of artists working in photography and video, the exhibition highlights members’ works that were influenced in some way by the Ransom Center. Approximately 50 new works are displayed alongside Ransom Center collection materials chosen by the artists.

Smithers began his career in commercial photography when he was 15 years old, eventually working as an aerial photographer for the U.S. Army Aviation Service during World War I. Between 1935 and 1939, under a contract with the International Boundary and Water Commission, Smithers photographed the entire U.S.-Mexican Border from Brownsville to San Diego.

Reed, too, focuses on the interplay between culture and land in the Texas-Mexico borderland. By pairing his and Smithers’s works, he said, “I work to elicit historical comparison and dialogue with the past while also creating space to reflect on photography’s role as an index of place and time, its inherent limitations in telling histories, and the archive as a catalyst in forming new ways of seeing.”

Motel, Terlingua and View of Study Butte, Texas are on display in the Ransom Center until August 4. On July 18, the artists of Lakes Were Rivers will discuss their work at 7 p.m. in the galleries.

In the galleries: Alvin Langdon Coburn’s "Vortograph" and Barry Stone’s "Sky 3099"

Barry Stone, "Sky 3099," 2012. Courtesy of artist.
Barry Stone, "Sky 3099," 2012. Courtesy of artist.
Alvin Langdon Coburn, "Vortograph," 1917.
Alvin Langdon Coburn, "Vortograph," 1917.

Although almost a century separates Alvin Langdon Coburn’s Vortograph (1917) and Barry Stone’s Sky 3099 (2012), Stone still finds parallels between the works. It is this connection between old and new that informs the Ransom Center’s current exhibition, Contemporary Photographic Practice and the Archive.

Created in conjunction with the Lakes Were Rivers collective, an Austin-based group of artists working in photography and video, the exhibition highlights members’ works that were influenced in some way by the Ransom Center. Approximately 50 new works are displayed alongside Ransom Center collection materials chosen by the artists. The pairings illustrate how archives and cultural collections stimulate new ideas and creative acts.

Widely acknowledged as the first consciously created abstract photographs, Coburn’s vortographs were taken using a kaleidoscope-like instrument that fit over the lens of a camera to reflect and fracture the image. Their name comes from the term “Vorticist,” which describes an avant-garde British artistic and literary movement spearheaded by Wyndham Lewis and influenced by Cubism.

In many ways, Coburn’s earlier technical photographic experiments mirror Stone’s current work—black-and-white digital captures of landscapes in which Stone has altered the image file’s code or machine language in a text-editing program. This process, called databending, creates visual hiccups within the otherwise unaltered image. Stone’s Sky 3099 provides an example of the technique, billowing clouds interrupted by swaths of visual static. As the artist notes, “The noise, therefore, becomes more like the signal. The anomaly or glitch is assimilated into the image and reveals not only the methods of its assembly but also a glimpse of new perceptual possibilities.”

Both Sky 3099 and Vortograph are on display through August 4. On July 18, the artists of Lakes Were Rivers will discuss their work at 7 p.m. in the galleries.

From the Outside In: "Horse in Motion," Eadweard Muybridge, ca. 1886

Eadweard Muybridge. "Horse in Motion," Photography collection, Harry Ransom Center.
Eadweard Muybridge. "Horse in Motion," Photography collection, Harry Ransom Center.

The atria on the first floor of the Ransom Center are surrounded by windows featuring etched reproductions of images from the collections. The windows offer visitors a hint of the cultural treasures to be discovered inside. From the Outside In is a series that highlights some of these images and their creators. Interact with all of the windows at From the Outside In: A Visitor’s Guide to the Windows

It may come as a surprise in the twenty-first century to discover that in the 1880s, details of how objects move were unknown. The human eye, unaided, cannot resolve the details of fast motion. Eadweard Muybridge and his experiments with motion photography—such as this series of pictures of a horse’s gait—helped solve this mystery.

Born Edward Muggeridge in 1830 at Kingston upon Thames, upriver from London, he was unsatisfied with life in the small English town, and by 1850 he had left to make his fortune in the United States. Little is known about him until he arrived in San Francisco, California, five years later. In 1855, the city of San Francisco had been settled only six years prior, and it provided the wide-open possibilities for which the young man was looking. After a short time as a bookseller, and a change to the more striking name by which he is known today, he took up photography from a daguerreotypist and worked for the photographer Carleton Watkins. He made coastal surveys, and soon he had gained fame for his spectacular images of Yosemite and Alaska.

His most famous work began in 1872 when he was hired by Leland Stanford (later the founder of Stanford University) to photograph horses. Stanford reputedly had made a bet that for a moment, all four of a racehorse’s hooves are off the ground simultaneously, and he hired Muybridge to take the pictures to prove him right. This was difficult to do with the cameras of the time, and the initial experiments produced only indistinct images. The photographer then became distracted when he discovered that his young wife had taken a lover and may even have had their child by him. Muybridge tracked down the lover, shot, and killed him. When Muybridge stood trial, he did not deny the killing, but he was acquitted nonetheless. Muybridge left San Francisco and spent two years in Guatemala. On his return, Muybridge resumed his photography of horses in motion, this time far more successfully. He set up a row of cameras with tripwires, each of which would trigger a picture for a split second as the horse ran by. The results settled the debate once and for all: all four hooves do leave the ground at once, as the top middle image in this sequence demonstrates.

Muybridge spent the rest of his career improving his technique, making a huge variety of motion studies, lecturing, and publishing. As a result of his motion studies, he is regarded as one of the fathers of the motion picture. Just as Niépce’s First Photograph had, Muybridge’s motion studies showed the way to a new art form. At the end of his life, Muybridge returned to England, where he died in 1904.

The window images show a few of the plates from Muybridge’s collection Animal Locomotion, held by the Ransom Center. The Center also has a number of individual images by Muybridge in the forms of nitrate negatives, lantern slides, and stereoscopic prints.

Ransom Center volunteer Alan Herbert wrote this post.

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.

“Arnold Newman: At Work” explores photographer through his archive

Cover of "Arnold Newman: At Work" by Roy Flukinger.
Cover of "Arnold Newman: At Work" by Roy Flukinger.

In conjunction with the exhibition Arnold Newman: Masterclass, University of Texas Press and the Ransom Center have published Arnold Newman: At Work by Ransom Center Senior Research Curator of Photography Roy Flukinger. Featuring an introductory essay by photo historian Marianne Fulton, the illustrated volume includes Newman’s iconic images alongside his contact sheets, Polaroids, and work prints complete with handwritten notes and marginalia. Providing a contextual overview of the Ransom Center’s Newman archive, the book reveals insights into Newman’s process. The book also includes Newman’s lesser known collages, commercial work, and cityscapes.

Drawing extensively from the Ransom Center’s Newman archive, the book is a rich collection of materials ranging from personal documents—such as Augusta and Arnold Newman’s holiday cards, travel ledgers, and copies of passports and pocketbooks—to some of Newman’s most iconic images. Readers can track the creative process from contact sheets with the photographer’s notes and cropping instructions to the eventual final selection and enlargement.

For Newman, a single session with the sitter was only the beginning of the creative process. Newman’s attentive markups and anecdotes litter the edges of countless contact sheets, and work prints from a portrait sitting allow readers to see how Newman approached his subject and found ways to reveal his or her character. Newman would take 10, 20, 30 and in some cases more than 50 individual photographs of a sitter, making minor adjustments each time. Though highly significant, the differences between the frames are often miniscule, but the variation in their impact can be dramatic.

The Center’s Newman archive contains all of Newman’s negatives, slides and color transparencies, all of his original contact sheets, and more than two thousand prints, including examples of color and collage work. The collection also includes Newman’s original sittings books, correspondence and business files, early sketchbooks and photographic albums.

Read an excerpt from Marianne Fulton’s introduction to the book, which is available for purchase in the Ransom Center’s online store or at the visitors desk during gallery hours. Arnold Newman: Masterclass runs through May 12.

Seminar exposes students to the Ransom Center’s photography holdings

Dr. Sherre L. Paris—lecturer at The University of Texas School of Journalism—teaches her undergraduate class “A Cultural History of Photography” at the Ransom Center. During the three-hour-long-seminar, which meets every Tuesday in a classroom adjacent to the Ransom Center’s Reading Room, undergraduates work with primary source materials from the Center’s photography collections. “Cultural Compass” spoke with Dr. Paris about her experience teaching at the Ransom Center.

Senior Research Curator of Photography Discusses Photography in the Digital Age

Cover of The Getty Conservation Institute newsletter Conservation Perspectives.
Cover of The Getty Conservation Institute newsletter Conservation Perspectives.

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.

Now open: “Arnold Newman: Masterclass”

Graphic identity for the exhibition "Arnold Newman: Masterclass."
Graphic identity for the exhibition "Arnold Newman: Masterclass."

The exhibition Arnold Newman: Masterclass opens today at the Harry Ransom Center and runs through May 12.

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.