Roy Flukinger, Senior Research Curator of Photography at the Ransom Center and author of The Gernsheim Collection, discusses the lives of Helmut and Alison Gernsheim and the historical photography collection they amassed and later sold to the Ransom Center in 1963.
Listen to audio clips of Flukinger discussing the hunt for the first photograph, how the Gernsheims began collecting, and the negotiations that led to the sale of their collection.
The Harry Ransom Center is now receiving applications for its 2011-2012 research fellowships in the humanities. The application deadline is February 1, 2011.
Information about the fellowships and the application process is available online.
About 50 fellowships are awarded annually by the Ransom Center to support scholarly research projects in all areas of the humanities. Applicants must demonstrate the need for substantial on-site use of the Center’s collections. All applicants, with the exception of those applying for dissertation fellowships, must be post-doctorates or independent scholars with a substantial record of publication.
The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 to $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.
The stipends are funded by Ransom Center endowments and annual sponsors, including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Hobby Family Foundation Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Schusterman Center for Jewish Studies at The University of Texas at Austin, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, and The University of Texas at Austin Office of Graduate Studies.
Applicants will be notified of decisions by letter on or before April 1, 2011. Fellowship recipients and their research projects will be announced on the Center’s website in May 2011.
In conjunction with the exhibition Discovering the Language of Photography: The Gernsheim Collection, the Ransom Center and the University of Texas Press have published The Gernsheim Collection.
The Gernsheim collection is 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 Gernsheim collection includes 35,000 important and representative photographs from the nineteenth and twentieth centuries; a research library of some 3,600 books, journals, and published articles; about 250 autographed letters and manuscripts; and more than 200 pieces of early photographic equipment. Its encyclopedic scope—as well as the expertise and taste with which the Gernsheims built the collection—makes the Gernsheim collection one of the world’s premier resources for the study and appreciation of the development of photography.
Published to coincide with the exhibition at the Ransom Center, this volume presents masterpieces of the Gernsheim collection, along with lesser-known images of great historical significance. Arranged in chronological order, this selection effectively constitutes a visual history of photography from its beginnings to the mid-twentieth century. Each full-page image is accompanied by an extensive annotation in which Ransom Center Senior Research Curator of Photography Roy Flukinger describes the photograph’s place in the evolution of photography and also within the Gernsheim collection. Read an excerpt from the introduction in which Flukinger traces the Gernsheims’ passionate careers as collectors and pioneering historians of photography, showing how their untiring efforts significantly contributed to the acceptance of photography as a fine art and as a field worthy of intellectual inquiry.
Drawn from the peerless collection of Helmut and Alison Gernsheim, the exhibition features masterpieces from photography’s first 150 years, alongside other images that, while lesser known, are integral to the medium’s history. Highlights include the first photograph (on permanent display at the Ransom Center); works by nineteenth-century masters such as Lewis Carroll, Julia Margaret Cameron, and Henry Peach Robinson; and iconic images by modern photographers such as Man Ray, Edward Weston, Robert Capa, and Henri Cartier-Bresson.
The Harry Ransom Center will celebrate the opening of the exhibition with “A Picture Perfect Evening” on Friday, September 10th from 6 to 8 p.m. The event is free for Ransom Center members or $20 for non-members. Tickets can be purchased in advance on the website or at the door. The event will feature exhibition tours, refreshments, a photo booth, and make-and-take photo keepsakes with The Wondercraft.
Paula Lupkin, a professor in the American Culture Studies Program at Washington University in St. Louis, recently spent time as a fellow working in the Hoblitzelle-Interstate collection at the Ransom Center. Her research yielded some surprises and insights into the regional vaudeville circuits in the Southwest, which she shares here.
When I arrived at the Ransom Center to take up the Mayer Filmscript Fellowship, my intention was simple: to learn as much as possible about the design and use of the fabulous vaudeville theaters designed by architect John Eberson for the Interstate Amusement Company in Texas. These theaters are an important component in my study of regional architecture in the Southwest at the turn of the twentieth century.
Many of them are no longer extant, and it was essential to find period photography and documentation of the buildings themselves. The Center is home to the Hoblitzelle-Interstate collection, which has the most complete photographic record of the theaters, as well as accounts of their planning, construction, programming, and management. Right away I found wonderful pictures, theater programs, and company records that suggested how and why the buildings looked as they did. Through these materials I learned a great deal about these fantastical structures, which included themed interiors, starlit skies, luxurious lounges, and even child care centers.
To an architectural historian, these archival sources were rich indeed, but they were not the greatest treasure I found during my fellowship month. After about a week, I came across something that transformed and enriched the way I think about those theaters: a 1912 program for Interstate’s southwestern vaudeville circuit.
Of course I knew about circuits before I saw this pamphlet. From the first day in the archives, the company’s business records made it clear that the theater buildings were only one part of Interstate’s system of delivering talent to the public in a profitable and efficient way. The company assembled talent into programs of entertainment, known as “bills,” and then sent the acts on a railroad journey from theater to theater. Some were the elaborate venues designed by Eberson, but equally important were the smaller towns and more modest opera houses that allowed performers to travel profitably the long distances between places in this region, with regularly spaced “jumps” between gigs. The circuit was an experience designed from a business perspective to make efficient use of the existing rail lines to offer as many shows as possible on consecutive nights.
With this basic knowledge of the vaudeville circuit, I began to see that Interstate’s theaters were more than a regional group of buildings linked by a common architect and ownership; they served as a series of nodes within an entertainment transportation system. Interstate’s building activity was not restricted to theaters; the company was constructing patterns and systems of movement along the Illinois Central, the Frisco, the KATY, and the Missouri Pacific Railroads.
The 1912 pamphlet I found crystallized and confirmed this rereading of the history of theatrical architecture. This clever piece of ephemera presented Interstate and its southwestern vaudeville circuit in the guise of a railroad system. The red cover introduced “The Interstate Line” as “the Route of Superior Attractions.” As was typical in railway literature of the time, the name of the president and local agents of both the national and local officials of the company are listed in the brochure. The “railway” president was the company president, Karl Hoblitzelle. The “traffic manager” is listed as Cecilia Bloom, the company’s booking agent. For each city on the circuit, the local theater manager is listed as the “city passenger agent.” The week’s entertainment bill is presented as a special train, “The Interstate Flyer,” which leaves from Chicago and runs in seven sections (acts) to Fort Worth, and then on to the rest of the cities on the circuit.
With this pamphlet in hand, as it became clear to me that the Interstate Company envisioned itself not as a series of theaters, but an infrastructural system and a space-time experience that united performers and audiences across the southwest. Actors traversed the territory in a series of rail cars, dressing rooms, hotels, and restaurants, playing to urban audiences in theaters in Little Rock, Oklahoma City, Fort Worth, Dallas, Austin, San Antonio, Galveston, and Birmingham. The performers and audiences were linked together, defining a regional entertainment landscape.
My newfound understanding of the theaters as part of the railroad-based geography of the vaudeville circuit fits very well into my developing project, “The Great Southwest: Trade, Territory, and Regional Architecture.” Most studies of regional architecture focus on formal and material similarities between buildings in a particular location. My project moves away from style and suggests instead that regional architectural patterns are formed by banking, commerce, and transportation networks. Looking at the triangular strip of land between St. Louis and Texas in the late nineteenth and early twentieth centuries, I map financial and architectural connections between buildings and sites along the conduits of the railway lines.
What I found in the Hoblitzelle-Interstate collection helped me understand that these buildings are regional not on the basis of their appearance, but as elements of a regional entertainment system: like beads strung along a necklace. The “Interstate Line” brochure encapsulated that in a series of images, confirming that my own way of understanding the theaters was shared by the company itself, and no doubt by the vaudeville performers themselves, whose lives and experiences were defined by movement from theater to theater on the spine of the railroad system.
Please click on the thumbnails below to view full-size images.