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Ransom Center to offer summer undergraduate internships

By Jennifer Tisdale

Former undergraduate intern Rachel Platis worked on selecting photographs for an exhibition. Photo by Pete Smith.
Former undergraduate intern Rachel Platis worked on selecting photographs for an exhibition. Photo by Pete Smith.

The Harry Ransom Center will support six undergraduate internships during the summer of 2013, four from The University of Texas at Austin and two from another accredited college or university.

The 14-hour-per-week positions will provide undergraduates with a hands-on and behind-the-scenes look at the operation of a humanities research center. Selected interns will choose from a variety of opportunities within the Center, including working with archives, exhibitions, marketing, public affairs, and curatorial departments of art, film, manuscripts, performing arts, photography, and rare books.

Learn more about the internships and application process. March 15 is the deadline to apply.

The internships will begin on June 10 and end August 16, 2013.

The Creekmore and Adele Fath Charitable Foundation has provided generous funding for these internships.

Ransom Center seeks input on draft report about acquisition of born-digital materials

By Jennifer Tisdale

Born-digital materials.
Born-digital materials.

In 2011, Ransom Center Digital Archivist Gabriela Redwine, with Assistant Director Megan Barnard, invited an international team of colleagues to engage in a series of conversations about how born-digital materials are acquired and transferred to archival repositories. Ten archivists and curators from the Beinecke Library at Yale University; the Bodleian Library at the University of Oxford; the British Library; the Manuscript, Archives, and Rare Book Library at Emory University (MARBL); and the Rubenstein Library at Duke University joined with the Ransom Center to create the report Born Digital: Guidance for Donors, Dealers, and Archival Repositories, which offers recommendations to help ensure the physical and intellectual well being of digital media and files during different stages of the acquisition process.

A draft of Born Digital has been published with MediaCommons Press, an online publisher that allows readers to offer feedback via an easy-to-use commenting interface. The authors of the report encourage manuscript dealers, writers, special collections professionals, and other custodians of archival materials to read the report, offer feedback and suggestions, and take part in a discussion with the larger community of individuals concerned about the acquisition and preservation of born-digital materials. The authors will closely review comments posted by readers and carefully consider this feedback when they revise Born Digital for final publication in the coming months.

The main body of the report surveys the primary issues and concerns related to born-digital acquisitions and is intended for a broad audience with varying levels of interest and expertise in the subject. Appendices provide information about how to prepare for the unexpected and possible staffing costs to repositories, as well as ready-to-use checklists that incorporate recommendations from throughout the report. These recommendations are not meant to be universal and do not necessarily reflect the official policies of the authors’ institutions. Rather, they offer broad, useful guidance for donors, dealers, and repository staff involved in the acquisition and transfer of born-digital materials.

TIME's LightBox lists 'Nathan Lyons: Selected Essays, Lectures, and Interviews' as one of photobooks of the year

By Jennifer Tisdale

LightBox, TIME’s photography blog, included the anthology Nathan Lyons: Selected Essays, Lectures, and Interviews (University of Texas Press, 2012) as one of its “2012 photobooks of the year.”

Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography, edited the anthology, which provided the first comprehensive overview of Lyons’s career as one of the most important voices in American photography.

In anticipation of Lyons’s November 8, 2012, visit to the Ransom Center, McDonald shared insight about the photographer, curator, and educator.

Nathan Lyons: Selected Essays, Lectures, and Interviews is available online through University of Texas Press.

Final days to see "I Have Seen the Future: Norman Bel Geddes Designs America"

By Jennifer Tisdale

Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.

The exhibition I Have Seen the Future: Norman Bel Geddes Designs America runs through January 6, 2013, and explores the life and career of American stage and industrial designer, futurist, and urban planner Norman Bel Geddes (1893–1958).

The Ransom Center Galleries are closed Mondays and on Christmas Eve Day, Christmas Day, and New Year’s Day.

Gallery hours are Tuesday through Friday 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.

Docent-led gallery tours are also available.

More than 300 items in the exhibition reflect the broad range of Bel Geddes’s interests and work and demonstrate how he shaped and continues to influence American culture and lifestyle. A polymath who had little academic or professional training in the areas he mastered, Bel Geddes had the ability to look at trends and the contemporary environment and envision how they could affect and alter the future.

“When you drive on an interstate highway, attend a multimedia Broadway show, dine in a sky-high revolving restaurant or watch a football game in an all-weather stadium, you owe a debt of gratitude to Norman Bel Geddes,” said exhibition organizer Donald Albrecht, an independent curator and curator of architecture and design at the Museum of the City of New York.

All but two loaned items in the exhibition come from the Norman Bel Geddes archive at the Ransom Center.

Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.
Norman Bel Geddes, Motor Car No. 9 (without tail fin), ca. 1933. Edith Lutyens and Norman Bel Geddes Foundation. Photo by Pete Smith.