Donald Albrecht, exhibition organizer and curator of architecture and design at the Museum of the City of New York, discusses industrial designer Norman Bel Geddes’s influence on the American landscape. Albrecht—editor of Norman Bel Geddes Designs America (Abrams)—emphasizes the breadth of the Bel Geddes collection at the Ransom Center, which includes Bel Geddes’s plans and sketches of his futurist visions.
The exhibition Norman Bel Geddes Designs America, which was on view at the Ransom Center in fall 2012, opens at the Museum of the City of New York today. To celebrate this traveling exhibition, the Ransom Center is giving away a free “I Have Seen the Future” totebag to all Ransom Center visitors, while supplies last. The galleries are open from 10 a.m. to 5 p.m. today.
Known for the family dynamics she enmeshes in her work, Jayne Anne Phillips uses her own family history as a source for character and plot development in her debut novel Machine Dreams (1984). Phillips chronicles one family, the Hampsons, to explore narratives that span from the years leading up to World War II through the Vietnam War.
Phillips’s papers, which are now accessible at the Ransom Center, include letters, travel ephemera, army pamphlets, and public service announcements. Drawing on wartime and post-war letters written by her father, and addressed to his aunt, Phillips captures the distress of mid-twentieth-century America. The letters also inform character development in Machine Dreams.
Phillips incorporates specific language and usage from the letters throughout the novel. Her father continually sends love to “the kids,” but seldom makes specific mention of the names of his young cousins. Borrowing this language in a chapter titled “The House at Night,” Phillips writes:
“She heard faintly her brother breathe and whimper; in these summer days the artificial disruption of school was forgotten and the fifteen months of age separating them disappeared; they existed between their parents as one shadow, the kids, and they fought and conspired with no recognition of separation.”
Seeing Phillips’s papers is like gaining access to an era of American life. Family photographs in the archive supplement the early drafts of Machine Dreams, which Phillips scribbled in spiral notebooks. Annotations on photographs give meaning to otherwise nameless faces, revealing the ways Phillips develops her characters and narratives. It appears that personal relics guide Phillips’s process in the most intimate of ways—through family memories.
Phillips was a finalist for the 2009 National Book Award for her novelLark & Termiteandis the author of MotherKind (2000), Shelter (1994), Black Tickets (1979), and Fast Lanes (1984).
For Macy’s third annual parade in 1926, Norman Bel Geddes produced seven posters that now reside in the Ransom Center’s archive. Learn about the efforts of Ransom Center conservators to repair and frame one of the posters for the exhibition I Have Seen the Future: Norman Bel Geddes Designs America. The project was funded by a Tru Vue Optium® Conservation Grant from The Foundation of the American Institute for Conservation of Historic and Artistic Works.
In conjunction with tonight’s lecture by author Morris Dickstein, an accompanying display case in the Ransom Center’s lobby features items from the Center’s Commentary magazine archive. Dickstein’s lecture, titled “America’s Best Magazine?: Commentary in the 1960s,” takes place tonight at 7 p.m. in the Prothro Theater. The Commentary magazine archive was donated to the Center in 2011.
Materials on display include a 1961 subscriber survey, a 1986 exchange of letters between Allen Ginsberg and Commentary editor Norman Podhoretz, and the May 1952 issue of the magazine, which contains the first American publication of “Diary of Anne Frank.”
This program is co-sponsored by the Schusterman Center for Jewish Studies at The University of Texas at Austin. The Albert and Ethel Herzstein Charitable Foundation made a generous donation to support this program and the cataloging of the Commentary magazine archive.
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.
Known for her evocative depictions of life in the Dust Bowl during the Great Depression, author Sanora Babb shares her family’s perpetual bouts with struggles against crop-failure, starvation, mortgage foreclosures, and loneliness in her memoir An Owl on Every Post. Experiencing pioneer life in a one-room dugout shelter, Babb viewed the land—which both tormented and beguiled her—from an up-close, eye-level perspective.
When her family relocated from the security of a small town to an isolated 320-acre farm on the western plains, the young Babb sought to find beauty and joy in her vast and desolate surroundings. The result of her introspection is a body of work that includes essays, short stories, poems, and five books.
In a new edition of her long-out-of-print memoir, An Owl on Every Post, Babb writes with immediacy and lyricism about growing up on the Colorado Plains. An Owl on Every Post reveals the values—courage, pride, determination, and love—that kept Babb’s family from despair and total ruin. The memoir, originally published in 1971, is now available with a new introduction by Pulitzer Prize–winning author William Kennedy.
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.