Austin-based Lakes Were Rivers, a group of 11 artists working in photography and video, recently collaborated with the Ransom Center to pair works of its artists with images from the Center’s photography collection, resulting in (Re)Collection, an exhibition in conjunction with the East Austin Studio Tour.
Each artist selected an image from the Ransom’s Center photography collections to be scanned and printed as an 8×10 reproduction. In the exhibition, these collection images are paired with a representative work made by members of Lakes Were Rivers, generating a complex and varied dialogue about the traditions and potential of photography as a medium.
Re(Collection) is on view this Saturday and Sunday, November 19 and 20, from 11 a.m. to 6 p.m. at 1319 Rosewood Avenue. Members of Lakes Were Rivers will serve as gallery attendants and will be available to discuss the show with visitors.
The personal archive of publisher, author, and artist Fleur Cowles (1908–2009) has been donated to the Ransom Center. The materials will be accessible once processed and cataloged, but an initial assessment confirms that the archive is as dynamic as Cowles was herself.
In 1983, Cowles celebrated the publication of The Flower Game, a book that shared hundreds of responses from friends around the world, all answering the question of what ten flowers they would like to take to a lonely island, assuming anything would grow there.
When soliciting friends, Cowles wrote, “The replies will determine the best loved flowers everywhere (I am writing to many places around the world).”
Participants ranged from European to Hollywood royalty, proving that Cowles didn’t limit herself to a continent nor to small social circles. A detailed chart documents the progress of Cowles’s initiative, revealing the friends invited to participate and the dates for solicitation and receipt.
Just as these responses provide insight into Cowles’s broad personal and professional network, the hundreds of typed and handwritten, signed responses represent just a small fraction of the correspondence found in the archive.
Below are highlights from a handful of the participants.
Photographer Beaton provided not only his list of flowers but also a handwritten note stating “Any large white orchid of any variety, as long as it is white.”
Actress Bergen’s list included wisteria and night-blooming jasmine, and she elaborated on her selections: “Flowers to see and smell—by day and night—that bloom underfoot and hang overhead, plus a few insect escorts—butterflies and caterpillars, the odd ladybug—for company.”
November 28, 1981
Olivia de Havilland:
Actress de Havilland gave herself an hour to construct her list, which contained water lilies, blue bells, and peonies.
Actor Fairbanks’s list includes a reference to his trademark carnation. Topping his list at number one is “The dark red (or Harvard red) carnation, as I have worn one in my button-hole actually since I have had a button-hole.”
March 6, 1979
The challenge of selecting flowers was difficult for anthropologist Goodall, who wrote, “The first 6 flowers were very easy to chose—but the last 4 were much harder. Not because it is difficult to think of 4 flowers one loves, but because it is difficult to reject others.”
February 27, 1979
Princess Grace of Monaco:
Listed among her favorite flowers, Princess Grace included bamboo, noting, “I hope you will accept bamboo although I have never seen it flower.”
March 7, 1979
Among his list of flowers, designer and interior decorator Hicks includes datura, hyacinth, and tuberose.
July 8, 1980
Lady Bird Johnson:
Former First Lady “Lady Bird” Johnson touted resilient flowers, claiming “Since I am an intensely practical person, I would choose flowers which give the most results for the least work and Zinnias and Marigolds and white Daisies would have to be on my list of favorite flowers. In my lifetime experience, I have found them to be so hardy and they give a great profusion of color over long weeks—I’ve always saluted their generosity!”
February 8, 1979
Actor Olivier’s list focused on roses. He wrote, “At the moment my gardening mind is filled with roses, so let me offer you a dozen of these.” Some of the varieties included Papa Meilland, Panorama Holiday (an exquisite pink, commonly named Beautiful Flower) and Blue Moon.
August 10, 1981
Former First Lady Nancy Reagan’s list included sweet peas, freesia, and violets.
Journalist Smith, a native Texan, elaborated on her list, “But my favorites, the ones I would have to have, are the lovelies—the wildflowers of Texas: Bluebonnets, winecups, Indian paintbrush, wild daisies, wild poppies—a collage of color and nostalgia.”
June 10, 1980
Among some of the Mexican artist’s favorites, Tamayo includes the calla lily, hibiscus, and the yucca.
April 3, 1979
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The archive of photographer Elliott Erwitt (b. 1928), which includes more than 50,000 signed photographic prints, will be housed at the Ransom Center. Spanning more than six decades of Erwitt’s career, the archive covers not only his work for magazine, industrial, and advertising clients but also photographs that have emerged from personal interests.
Collectors and philanthropists Caryl and Israel Englander have placed the archive at the Ransom Center for five years, making it accessible to researchers, scholars, and students.
Born in Paris to Russian émigré parents, Erwitt spent his formative years in Milan and then immigrated to the United States, living in Los Angeles and ultimately New York. In 1948, Erwitt actively began his career and met photographers Robert Capa, Edward Steichen, and Roy Stryker, all who would become mentors.
In 1953, Erwitt was invited to join Magnum Photos by Capa, one of the founders of the photographic co-operative. Ten years later, Erwitt became president of the agency for three terms. A member of the Magnum organization for more than 50 years, Erwitt’s archive will be held alongside the Magnum Photos collection at the Ransom Center.
In addition to providing access to the archive, the Ransom Center will promote interest in the collection through lectures, fellowships, and exhibitions. The Erwitt materials are currently being prepared for public access.
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Image: USA. Arlington, Virginia. November 25, 1963. Jacqueline KENNEDY at John F. KENNEDY’s funeral.
As part of the Harry Ransom Lectures, legendary Magnum photographer Elliott Erwitt discusses his life and work tomorrow evening at 7 p.m. CST in Jessen Auditorium at The University of Texas at Austin. The program will be webcast live.
Steve Hoelscher, Chair of the Department of American Studies at The University of Texas at Austin, shares his thoughts on the work and career of Erwitt:
Few photographers have had a greater impact on American visual culture than Elliott Erwitt. Even if you’ve never heard the name Elliott Erwitt, you’ve seen his pictures. Some are icons of photojournalism: Richard Nixon burying his finger in Nikita Khrushchev’s chest during their so-called Moscow “kitchen debate” in 1959; Jacqueline Kennedy, veiled and in distress at the funeral of her husband in 1963; the black man drinking out of a segregated water fountain, which became a symbol of racial injustices of the Jim Crow South. Likewise, his portraits of celebrities like Grace Kelley, Che Guevara, Marilyn Monroe, and Jack Kerouac have achieved notoriety, but so too have his photographs of everyday life: a couple reflected in the side mirror of a car when they are cuddling; a young mother and her newborn daughter gazing affectionately at each other, much to the approval of a nearby cat. In these and in so many of his photographs, and with a keen sense of observation and finely honed wit, Elliott Erwitt illuminates the small moments of life, even when covering major news events. This is how he describes his craft: “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place. I’ve found it has little to do with the things you see and everything to do with the way you see them.”
The Ransom Center is now receiving applications for its 2012-2013 research fellowships in the humanities. More than 50 fellowships are awarded annually by the Center to support research projects in all areas of the humanities.
All applicants must demonstrate the need for substantial on-site use of the Center’s collections and, with the exception of those applying for dissertation fellowships, must be post-doctorates or independent scholars with a substantial record of publication.
Information about the fellowships and application process can be found online.
The stipends are funded by Ransom Center endowments and annual sponsors, including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Carl H. Pforzheimer Endowment, the Woodward and Bernstein Endowment, the American Society for Eighteenth-Century Studies, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.
The Ransom Center has acquired the archive of film director Nicholas Ray (1911–1979), best known for his film Rebel Without a Cause.
Spanning more than 35 years, materials in the collection include, but are not limited to, Ray’s work on They Live By Night (1949), In A Lonely Place (1950), Flying Leathernecks (1951), Rebel Without a Cause (1955), Run for Cover (1955), Bitter Victory (1957) and 55 Days at Peking (1963). Rebel Without a Cause starred James Dean, Sal Mineo and Natalie Wood.
The holdings include original treatments, annotated scripts, photographs, journals, notes, audio reels, video recordings and film that provide an account of Ray’s working methods and ideas.
Also included are materials from Ray’s teaching career, which he began in 1971. Ray taught film directing and acting at Harpur College of Arts and Sciences at Binghamton University, New York University and the Lee Strasberg Institute.
Storyboards from Rebel Without a Cause reveal a different ending from the film that was released. In the alternate ending as originally planned, Plato, played by Mineo, is shot from the dome of the planetarium. The archive’s 64 storyboards contain Ray’s handwritten dialogue and directions. Almost all of Ray’s dialogue changes were incorporated into the film.
Ray’s most ambitious personal project was the experimental film We Can’t Go Home Again (1973–1976), which he made with students at Harpur. A version of the film screened at the Cannes Film Festival in 1973, but Ray continued working and editing the film until his death. Materials relating to the autobiographical project include hours of edited work print, rushes, cut negative, editing notes and journal entries.
Storyboards from Rebel Without a Cause will be displayed on the first floor of the Center from July 28 through Aug. 31. Once processed, cataloged and housed, the collection will be available for research in the fall.
Please click the thumbnails below to view full-size images.
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.
Please be aware that Photo Friday will be on hiatus during the summer, but will return in September.