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Ransom Center partners with Texas Exes on World War I-themed anniversary tour

By Gabrielle Inhofe

2014 will mark the 100th anniversary of the start of the First World War, a watershed event that claimed millions of lives and changed the course of the twentieth century.  The Ransom Center’s exhibit The World at War, 1914–1918 will illuminate the lived experience of the world’s first global war, and will be supplemented with a trip led by exhibition curators and historians to its key monuments and battlefields throughout Great Britain, France, and Belgium, from June 14 through June 23, 2014.  The trip is organized by the Texas Exes Flying Longhorns.  Information regarding the trip can be found on the Texas Exes alumni travel website.


Sites in London include the Imperial War Museum, Westminster Abbey, the Douglas Haig Memorial, 10 Downing Street, and the Houses of Parliament.  Participants will also travel to Oxford to meet with scholar Dr. Jon Stallworthy, the leading scholar on the works of English soldier-poet Wilfred Owen.  The Ransom Center holds a collection of Owen’s letters.  While in London, participants will stay in the Grosvenor House, a historic 5-star hotel that is frequented by celebrities and royalty.


From London, the group will visit towns such as Ypres, Somme, Verdun, and Rheims, home to key battlegrounds and memorials along the Western Front.  The town of Ypres was the site of three major battles, as well as the first documented use of poison gas.  Visitors can still view Ypres’ trenches, underground bunkers, and even a church where Adolf Hitler was treated after being wounded.  Trip participants will also visit La Maison Forestière in Ors, a memorial to Wilfred Owen, and the Thiepval Memorial to the Missing of the Somme.  France is also famed for its champagnes, and participants will enjoy a tasting, featuring classics like Veuve Cliquot and Tattinger.


The trip ends in Paris, home to attractions like the Louvre, the Eiffel Tower, and Notre-Dame.  Participants will stay in the Intercontinental LeGrand Hotel, a luxury hotel with views of the Paris Opera House.  There is an optional two-day extension of the trip here, which includes a Seine River cruise and a show at the Moulin Rouge.


For more information, visit their website.


Image: Cover of trip brochure.

Two Ransom Center archives illuminate Doris Lessing’s life, work, and relationships

By Megan Barnard

Nobel Laureate Doris Lessing died on Sunday at the age of 94. She was born in what is now Iran, grew up on a farm in Zimbabwe, lived briefly in a boarding house in South Africa, and settled as an adult in London. She was deeply influenced by the racial and social injustices she witnessed, and her books reflect a lifetime of experience observing racism, colonialism, communism, and terrorism. She wrote frankly about relationships between women and men and is heralded as an early feminist writer, though she never embraced that distinction. She was an avid reader and was largely self-educated through books, as her formal education ended when she was just 15 years old. Yet she remained unsentimental about books. In one letter in her archive, which resides at the Ransom Center, Lessing noted, “[I] wish that people would just read books and get all the sustenance from them they can—and then throw them away and go on to the next useful sustaining book.”


Early in her career, Lessing applied this same attitude toward her manuscripts. As a young writer in England, she had little space and less money. She moved frequently and saw little value in her cumbersome stacks of manuscripts and papers, so she discarded them. As a result, manuscripts of many of her most notable books, including The Golden Notebook, have been lost.


Fortunately, Lessing later changed her ways. The drafts and working papers of more than 50 of her novels, plays, stories, and other works are available for research at the Ransom Center, where they have resided since 1999. The 45-box collection includes Lessing’s Canopus in Argos series, her two autobiographies, and novels such as The Good Terrorist and Mara and Dann. Although few of Lessing’s early works appear in the archive, another Ransom Center collection offers a rare glimpse of Doris Lessing from this period.


American author Clancy Sigal lived with Lessing in London in the late 1950s. In many ways, they were kindred spirits. The two writers were passionate about many of the same social concerns. In the photograph above, the two can be seen, according to Sigal, “in a bus, in the mud, on our way to cut through the barbed wire of a nuclear air base.” Their relationship may have been intellectually deep, but it was emotionally fraught and stormy. It also provided great fodder for literature. It’s no secret that Lessing modeled the infamous Saul Green of The Golden Notebook on Sigal. Once at a party, Lessing even boasted to the guests, “I invented Clancy.” Sigal was less than thrilled to appear in Lessing’s novel, a book that is widely hailed as a cornerstone of feminist literature. Yet he, too, looked to their relationship for inspiration, even decades after it had ended. Rose O’Malley from Sigal’s 1992 novel Secret Defector, is just one of many characters he created who bear a striking resemblance to Lessing.


The journals in Clancy Sigal’s archive detail the difficulties of their relationship, and traces of their time together appear throughout his writings. His archive includes letters from Lessing, some dated long after their relationship had ended, showing that they remained friends for decades. In one such letter, written in November 2001, not long after the September 11th attacks, Lessing harkened back to their earlier years of social activism, “Do you think the world is even madder now than [w]hen we knew it was?” she asked. “God, what a world.”


Image: Clancy Sigal and Doris Lessing, ca. late 1950s. 

Video: Magnum photographer Eli Reed discusses his career and documentary photography

By Alicia Dietrich


The exhibition Eli Reed: The Lost Boys of Sudan is on view at the Ransom Center through December 8.


In the above video, Eli Reed, Magum photographer and a clinical professor of journalism at The University of Texas at Austin, discusses his career and working methods.


In 2001, Reed traced the path of some of the more than 20,000 “Lost Boys,” as aid workers have called them, some as young as five years old, forced to flee after their families were massacred or enslaved during the Second Sudanese Civil War. Wandering the equatorial wilderness between Sudan and Ethiopia for years on foot, those who survived starvation and disease eventually reached a refugee camp in Kakuma, Kenya, where over 3,000 of them awaited resettlement through a United Nations partnership with the U.S. State Department. Reed’s powerful series documents their journey as they leave the camp and adjust to life in the United States, acclimating to a starkly different culture and a new world of formidable challenges.


Additional photographs by Reed from his 1995 series Rwandan Refugees in Tanzania are on view as part of the exhibition Radical Transformation: Magnum Photos into the Digital Age.


Related content:

“Eli Reed: The Lost Boys of Sudan” exhibition opens today at the Ransom Center

In the archive: Ed Ruscha’s “Twentysix Gasoline Stations”

By Alicia Dietrich

Ed Ruscha’s Twentysix Gasoline Stations, a thin paperback that resembles an industrial manual of the 1960s, is often considered to be the first modern artist’s book. The book is exactly what the title describes: 26 images of gasoline stations along Route 66 between Los Angeles and Oklahoma City.


Born in Omaha, Nebraska, and raised in Oklahoma City, Ruscha was living and working in Los Angeles in the 1960s and frequently traveled the route between the two cities to visit his family.


“I just had a personal connection to that span of mileage between Oklahoma and California,” Ruscha told NPR earlier this year on the 50th anniversary of the book. “It just, it kind of spoke to me.”


In an interview with Avalanche magazine in 1973 he said, “I’d always wanted to make a book of some kind. When I was in Oklahoma I got a brainstorm in the middle of the night to do this little book called Twentysix Gasoline Stations. I knew the title. I knew it would be photographs of twenty-six gasoline stations.”


So, Ruscha documented gas stations along that route in black-and-white photographs and labeled them with their locations, from “Texaco, Sunset Strip, Los Angeles” to “‘Flying A, Kingman, Arizona” to the final image “Fina, Groom, Texas.”


Ruscha published the book at age 26 in a run of 400 numbered copies in April 1963. Though it was the same year as Ruscha’s first solo exhibition at the Ferus Gallery in Los Angeles, the book didn’t initially receive a warm reception. In a 1963 letter, the Library of Congress declined to add a copy to their collection, noting the book’s “unorthodox form and supposed lack of information.”


The book gradually acquired cult status in the 1960s, and a second edition was published in 1967 and a third in 1969. Surviving first editions of the book are rare.


Ruscha’s archive, which was recently acquired by the Ransom Center, includes snapshots of the gas stations, Ruscha’s notes about the project, the Library of Congress letter, and an advertisement with the headline “REJECTED Oct. 2, 1963 by the Library of Congress.”


Related content:

Oof. Peek inside the Ed Ruscha archive


Oof. Peek inside the Ed Ruscha archive

By Peter Mears

Four large bins containing the archival material of artist Ed Ruscha arrived at the Ransom Center recently. Packed and carefully layered within were boxes, tubes, and portfolios containing Ruscha’s notable creations on paper. The collection includes his limited edition artist’s books and deluxe suites of prints, photographic publications, colorful exhibition posters, prints of his 16 mm movies, and a rich assortment of papers and journals documenting the creation of his publications and art commissions and referencing his various literary influences. Together, this material represents the achievements of a remarkable artistic career that spans more than half a century.


Born in 1937, Ed Ruscha is considered today to be one of the most important artists of his generation. Words and wry phrases have always played a central role in his artwork, beginning with the West Coast Pop Art phenomena of the 1960s where his roots run deep. For Ruscha, whose background includes commercial art and typesetting, words are visually malleable and can carry multiple meanings. “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again,” Ruscha once said.


Arts writer, Calvin Tomkins, summed it up best: “His (Ruscha’s) early paintings are not pictures of words but words treated as visual constructs.”


Single word paintings with odd titles such as Oof (1963) and Boss (1964) were early precursors to more complex works such as the series of rhyming prints titled News, Mews, Pews, Brews, Stews & Dues (1970), which are included in the archive.


Ruscha’s art would evolve and expand intellectually—Marcel Duchamp and Jasper Johns were early influences—to become beautifully crafted and complex conceptual works of art, which have been described over the years as being comedic, deadpan, and elegantly laconic.


West Coast car culture and commutes on Route 66 between Los Angeles and Oklahoma where Ruscha grew up all helped inspire many of his photography-based artist’s books such as Twentysix Gasoline Stations (1962), Royal Road Test (1980), and Parking Lots (1999). All are represented in the archive.


Most recently published is On the Road (2010), Ruscha’s limited edition artist book of the classic novel by Jack Kerouac (1922–1969). The archive includes full-size mockups of the book, annotated copies of the novel, sketches, photographs, correspondence, and business papers. These materials resonate perfectly with the Ransom Center’s own collection of materials related to Beat Generation authors, which includes the journal that Kerouac kept while preparing to write On the Road.


Also included in the archive is Sayings (1995), a folio of ten color lithographs bound in linen that are based on Mark Twain’s novel Pudd’nhead Wilson: A Tale (1894). Ruscha selected phrases written by Twain in a black dialect spoken during the era of slavery. He superimposed the phrases (hand-written in what Ruscha calls his “Boy Scout Utility san serif”) over colorful wood grain patterns, creating a tension that resonates with larger social and racial issues in America today.


Ruscha’s creative distillation of popular American culture over the last half century with its layers of typographical code makes him an exciting artist to explore, and, for the Ransom Center, one of the more compelling if not quintessential to acquire.


Related content:

In the archive: Ed Ruscha’s “Twentysix Gasoline Stations”


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Artist Ed Ruscha’s archive acquired by Ransom Center

By Alicia Dietrich

The Ransom Center has acquired the archive of artist Edward Ruscha (b. 1937). The materials reveal Ruscha’s creative process and offer a unique perspective of one of the most influential artists working today.


Born in Omaha, Nebraska, Ruscha moved to Oklahoma City in 1941 and to Los Angeles in 1956 to attend the Chouinard Art Institute. He had his first solo exhibition in 1963 at the Ferus Gallery in Los Angeles. In the years since, he has been widely recognized for his paintings, drawings, photographs, and artist’s books.


Ruscha is known for art that often manipulates words and phrases in unconventional ways. Ruscha’s art is deeply influenced by his love of books and language, as reflected by his frequent use of palindromes, unusual word pairings and rhyme. He has often combined the cityscape of Los Angeles with vernacular language, and his early work as a graphic artist continues to strongly influence his aesthetic and thematic approach.


Ruscha’s archive comprises five personal journals filled with preliminary sketches and notes; materials related to the making of his artist’s book of Jack Kerouac’s On The Road (2010); notes, photographs, correspondence and contact sheets relating to the creation and publication of his many other artist’s books, including Twentysix Gasoline Stations (1962), Every Building on the Sunset Strip (1966), and Some Los Angeles Apartments (1965); and materials relating to his short films Miracle (1975) and Premium (1971); his portfolios; and several art commissions.


Once processed and cataloged, the materials will be accessible in the Ransom Center’s reading room to students, researchers and the public.


The purchase of the archive was primarily supported by generous donors, including Michael and Jeanne Klein, the Marlene Nathan Meyerson Foundation, Mark Wawro, and Melanie Gray. The University provided additional support for the acquisition.


Ruscha, who continues to live and work in Los Angeles, donated a substantial portion of the archive to the Ransom Center, including a complete set of his artist’s books, print portfolios, 16 mm reels of his films, and a complete set of exhibition posters.


A small selection of materials from the archive will be on display in the Ransom Center’s lobby through December 1.


Related content:

Oof. Peek inside Ed Ruscha’s archive

In the archive: Ed Ruscha’s Twentysix Gasoline Stations


Please click on thumbnails to view larger images.


Digital collection features more than 8,000 items

By Alicia Dietrich

The Ransom Center has launched a new platform of freely available digitized images of collection materials on its website. The new site contains more than 8,000 items and will continue to grow as newly digitized images are added on a regular basis.


Presently the collection includes photographs by Lewis Carroll, manuscripts by Charlotte and Emily Brontë, Harry Houdini’s scrapbooks, works by artist Frank Reaugh, and items from the Ransom Center’s extensive circus collection, which includes materials related to showmen such as P. T. Barnum, Ringling Bros. and Barnum & Bailey.


The digital collections platform provides access to the Ransom Center’s collections for students, scholars and members of the public who are unable to visit the Center. It also provides a way for visitors to access fragile materials or collections that exist in challenging formats, such as personal effects and costumes. One example is a collection of glass plate negatives that documents theater performances in the late-nineteenth and early-twentieth centuries. The fragile collection was previously inaccessible, but the negative plates were digitized and converted to positive images for the digital collection.


Visitors to the Ransom Center’s website can search within collections or across collections, often revealing related materials.  Additional tools provide users with the ability to virtually flip through books, enlarge images and compare page images with accompanying transcripts, which are text-searchable.


Collections are being added on an ongoing basis, and planned digitization projects include the photographs of nineteenth-century photographer Julia Margaret Cameron and photographs and ephemera from the Fred Fehl dance collection.


This project was made possible with funding from the Booth Heritage Foundation.


Related content:

Digitized access to Frank Reaugh art collection allows viewers to peer beneath the frames

Artifact in Harry Houdini scrapbook collection highlights career of mind reader “The White Mahatma”

New digital collection highlights work of early special effects creator Norman Dawn

For his most famous child portrait, Charles Dodgson (a.k.a. Lewis Carroll) drew inspiration from an eighteenth-century painting

New inventory of manuscript collection reveals unprecedented level of detail for scholars of British history


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