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Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Library Assistant Richard Mikel works on placing a mylar cover on the book 'Gold Comes in Bricks.' Photo by Kelsey McKinney.
Library Assistant Richard Mikel works on placing a mylar cover on the book 'Gold Comes in Bricks.' Photo by Kelsey McKinney.
Junior work study Miles Foster-Greenwood has worked on compiling data for hundreds of photographer E. O. Goldbeck’s panoramic images. Photo by Kelsey McKinney.
Junior work study Miles Foster-Greenwood has worked on compiling data for hundreds of photographer E. O. Goldbeck’s panoramic images. Photo by Kelsey McKinney.
Senior work study Simonetta Nieto works on housing for a costume from Robert De Niro’s collection. Photo by Kelsey McKinney.
Senior work study Simonetta Nieto works on housing for a costume from Robert De Niro’s collection. Photo by Kelsey McKinney.

Fellow discusses work on wartime photography collections

By Io Montecillo

Anne Tucker, curator of the Museum of Fine Arts, Houston, discusses her research on wartime photography collections found at the Ransom Center. Her work covers collections ranging from Roger Fenton’s documentation of the Crimean War to the World War I photographs of Jimmy Hare to Edward Steichen’s images of the American Navy in World War II.

“To be able to look at the objects of the time in depth is an irreplaceable experience for understanding a time in which you didn’t live,” Tucker said.

Tucker’s research, “We Bear Witness: Photographers Responding to War,” was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment. The Ransom Center is now accepting applications for the 2012–2013 fellowship program.

Fellows Find: Implicating History: Susan Meiselas and the Trafficking of Photographs about Nicaragua

By Erina Duganne

 

‘Nicaragua, June 1978–July 1979′ by Susan Meiselas.
‘Nicaragua, June 1978–July 1979′ by Susan Meiselas.

Erina Duganne, Assistant Professor of Art History at Texas State University, visited the Ransom Center on a Marlene Nathan Meyerson Photography Fellowship for a month during the summer of 2011 to review photographs by Susan Meiselas in the Magnum Photos collection. This research relates to her forthcoming book that examines the act of bearing witness in photography from the 1970s through the 1990s. She is also presenting her findings on Meiselas at the annual conference of the Association of American Studies. The Ransom Center is now accepting applications for 2012-2013 fellowships. Duganne discusses her research here.

For this fellowship, I closely examined press photographs in the Magnum Photos collection that Susan Meiselas took of the insurrection that occurred in Nicaragua in the late 1970s. My interest in these images was twofold. I sought to determine how these photographs were trafficked in print media, as well as how Meiselas responded to these uses through her 1981 book Nicaragua, June 1978–July 1979 and her 1982 exhibition Mediations.

To facilitate this research, I first organized Meiselas’s Nicaragua photographs according to the story index number that was, in most cases, found on the recto of the images. Next I located the actual newspapers and magazines that published these photographs so that I could compare which images from a particular story were in fact published and how they were captioned. I then compared how Meiselas used photographs from the same stories in her book Nicaragua and in her exhibition Mediations. Through these comparisons, I sought to determine the historically specific ways in which Meiselas’s Nicaragua photographs were distributed by Magnum Photos, used by the print media, and then recontextualized by Meiselas herself. In so doing, my aim is to suggest not only how Meiselas responded to this trafficking of her photographs, but more importantly, how she attempted to use these two projects to make viewers as well as herself implicit in the histories to which these photographs and their circulation bear witness.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Senior Book Conservator Olivia Primanis transfers the title page of a book of John Milton’s poetry to allow it to air dry after removing old adhesive from the bottom of the page. Photo by Kelsey McKinney.
Senior Book Conservator Olivia Primanis transfers the title page of a book of John Milton’s poetry to allow it to air dry after removing old adhesive from the bottom of the page. Photo by Kelsey McKinney.
Ransom Center Director Thomas F. Staley meets with a group of the Ransom Center’s docents to discuss James Joyce’s ‘Ulysses’ during their book club meeting. The docents read the book in conjunction with the exhibition ‘Banned, Burned, Seized, and Censored.’ Staley is a prominent Joyce scholar. Photo by Alicia Dietrich.
Ransom Center Director Thomas F. Staley meets with a group of the Ransom Center’s docents to discuss James Joyce’s ‘Ulysses’ during their book club meeting. The docents read the book in conjunction with the exhibition ‘Banned, Burned, Seized, and Censored.’ Staley is a prominent Joyce scholar. Photo by Alicia Dietrich.