Scheduled for release on November 1, Norman Bel Geddes Designs America (Abrams) is the first book to explore the entire scope of American stage and industrial designer, urban planner, and futurist Norman Bel Geddes’s life, career, and projects. Edited by Donald Albrecht, an independent curator and curator of architecture and design at the Museum of the City of New York, Norman Bel Geddes Designs America reveals the astonishing breadth of Bel Geddes’s work.
Enjoy a preview of Norman Bel Geddes Designs America through Albrecht’s introduction to the volume, which includes images of Bel Geddes’s varied work, from construction of the stage set for The Eternal Road to his design for an all-weather, all-purpose never-built stadium for the Brooklyn Dodgers.
Essays by more than 15 leading scholars explore Bel Geddes’s work in theater, housing, graphic design, and workplaces, as well as his famous Futurama installation and his working process. More than 400 illustrations from the Bel Geddes archive at the Harry Ransom Center reveal and showcase Bel Geddes’s extensive interests and talents. Essay contributors include Regina Lee Blaszczyk, Christina Cogdell, Christin Essin, Christopher Innes, Sandy Isenstadt, Christopher Long, Jeffrey L. Meikle, Lawrence Speck, and others.
Norman Bel Geddes Designs America is available for purchase at the Ransom Center’s visitor desk during gallery hours, with members receiving a discount.
Basketball, which began as a game invented to occupy young, energetic boys within the confines of a gymnasium on rainy days, has come to be one of the most popular sports in American culture.
Basketball: Power in Play, a display of sports photographs from the Harry Ransom Center’s New York Journal-American collection, captures some of the key components of the game from the 1940s through the 1960s.
From September 18 through December 9, 2012, visitors will be able to view images depicting various perspectives on the game such as training and technique, women in basketball, wheelchair basketball, the Harlem Globetrotters, and images of incredible shots and blunders.
The 32 black-and-white photographs in the exhibition come from the New York Journal-American, which was published from 1937 to 1968. Soon after the newspaper’s demise, the Ransom Center gained ownership of the paper’s approximately two million prints and one million negatives. Many of the photographs in the display show original crop and edit marks used in the course of publication.
Geared toward sports enthusiasts, the rich history and engaging narratives embodied in the photo captions will be sure to entertain and amuse.
The display is one of several exhibitions and events across The University of Texas at Austin campus this fall capturing the spirit and history of basketball from its beginnings in a Massachusetts YMCA to the modern NBA.
Courtesy of Suzanne Deal Booth and David G. Booth, the University’s Blanton Museum of Art will be presenting James Naismith’s “Original Rules of Basket Ball,” the 1891 document that outlines the 13 original rules of the game. The rules will be exhibited alongside the works of contemporary artist Paul Pfeiffer in The Rules of Basketball: Works by Paul Pfeiffer and James Naismith’s Original Rules of Basket Ball, running through January 13, 2013.
The exhibition I Have Seen the Future: Norman Bel Geddes Designs America opens today at the Harry Ransom Center. Running through January 6, 2013, the exhibition explores the life and career of American stage and industrial designer, futurist, and urban planner Norman Bel Geddes (1893–1958).
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 materials in the exhibition except two loaned items come from the Norman Bel Geddes archive at the Ransom Center.
In February 2013, the Harry Ransom Center will host the first U.S. showing of the exhibition Arnold Newman: Masterclass, a posthumous retrospective of photographer Arnold Newman (1918–2006).
The exhibition was organized by the American nonprofit organization Foundation for the Exhibition of Photography (FEP) in collaboration with the Ransom Center. The show, curated by FEP’s William Ewing, highlights 200 framed vintage prints spanning Newman’s career, selected from the privately held Arnold Newman Archive and the collections of major American museums and private collectors. Twenty-eight photographs from the Ransom Center’s Newman archive are featured in the exhibition.
Newman’s subjects included world leaders, authors, artists, musicians, and scientists—Pablo Picasso in his studio; Igor Stravinsky sitting at the piano; Truman Capote lounging on his sofa; and Otto Frank, father of Anne Frank, in the attic where his family hid from the Nazis for more than two years.
Complementing the exhibition is Ewing’s Masterclass: Arnold Newman (Thames & Hudson Inc., New York), which pays homage to Newman and includes more than 200 photographs, four essays, and short biographies of Newman’s sitters. Essay contributors include Ewing; David Coleman, director of the Witliff Collections at Texas State University and former curator of photography at the Ransom Center; and Arthur Ollman, professor at San Diego State University and curator of many exhibitions produced in collaboration with Newman.
Recently, the Wall Street Journal’s “Photo-Op: Chair Man” highlighted the book with Newman’s photo of Charles Eames in his studio.
The Harry Ransom Center is now receiving applications for its 2013–2014 research fellowships in the humanities.
The application deadline is February 1, 2013. Information about the fellowships and the application process is available online.
More than 50 fellowships in the humanities are awarded annually by the Ransom Center to support research projects in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history. Applicants must demonstrate the need for substantial on-site use of the Center’s collections.
All applicants, with the exception of those applying for dissertation fellowships, must hold a Ph.D. or be independent scholars with a substantial record of publication.
The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 to $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.
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 Frederic D. Weinstein Memorial Fellowship in Twentieth-Century American Literature, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.
Applicants will be notified of decisions on April 1, 2013. Fellowship recipients and their research projects will be announced on the Center’s website.
From November 1-3, the Ransom Center will bring together historians, architects, industrial designers, and visionaries in the fields of science fiction, film, theater, and future studies to explore the ways the future has been imagined over time.
Author and curator Phil Patton will moderate one of the symposium panels, “Motorways in the Twentieth Century and Today.”
Patton is the author of Open Road: A Celebration of the American Highway, Autodesign International, and Made in USA: The Secret Histories of the Things that Made America. He has worked on several exhibitions, serving as Curatorial Consultant for Different Roads: Automobiles for the Next Century (The Museum of Modern Art, 1999) and Co-Curator for Cars, Culture, and the City (Museum of the City of New York, 2010). He writes for The New York Times and teaches at the Design Criticism program at the School of Visual Arts.
Below are some of Patton’s reading recommendations relating to the symposium theme. Mentioned authors Paul Daniel Marriott and Tom Vanderbilt are also panel participants for “Motorways in the Twentieth Century and Today.”
In 1973, visiting authors and authors began signing one of the Harry Ransom Center’s doors between two manuscript stack rooms on the fifth floor. At the suggestion of a staffer, the authors’ door was inspired by the signed Greenwich Village Bookshop door in the Center’s collection. When one side of the Ransom Center’s door filled up a few years ago, the other side was sanded down so that it could be used as well. To date, more than 150 visitors have signed the door, from American writer Alice Adams to Russian poet Yevgeny Yevtushenko.
ESPN’s Longhorn Network recently explored the history of the door with the Ransom Center’s Danielle Brune Sigler, assistant director and curator for academic programs.
In April, Helen Moore, Fellow and Tutor in English at Corpus Christi College, University of Oxford, spoke about the history of the King James translation at the Harry Ransom Center. The talk is now online on YouTube.
Moore was lead curator of Manifold Greatness: Oxford and the Making of the King James Bible, an exhibition held at the Bodleian Library at the University of Oxford in 2011. Her illustrated talk addressed the role played by Oxford in the translation of the King James Bible, the methods used by the translators, and some of the items displayed at the Oxford exhibition.
The event was co-sponsored by Corpus Christi College, University of Oxford and The Wall Street Journal.
Writer Jim Crace, author of Continent (1986), Arcadia (1992), Quarantine (1997), Being Dead (1999), and The Pesthouse (2007), speaks about ephermera in archives and the narratives and stories they provide.
Crace elaborates about a piece of driftwood found in his archive that contains a note that was later incorporated into his novel Signals of Distress (1996).
Enter by July 13 for a chance to win a signed copy of Crace’s Continent by visiting the Ransom Center’s Facebook page.
Crace will be in residence this fall at the Michener Center for Writers at The University of Texas at Austin. He will give a public reading on December 6.
The Ransom Center has appointed Jessica S. McDonald, a curator of photography at the San Francisco Museum of Modern Art, as its new chief curator of photography. McDonald begins her position at the Ransom Center in September.
As the Nancy Inman and Marlene Nathan Meyerson Curator of Photography, McDonald will oversee a collection that spans from the world’s earliest-known photograph to prints from some of the great masters of the twenty-first century. The Center’s photography holdings include the Helmut and Alison Gernsheim collection, a seminal collection of the history of photography and one of the world’s premier sources for the study and appreciation of photography.
In addition to the history of photography, the Ransom Center’s photography collection focuses on photojournalism and documentary photography, with holdings of more than 5 million prints and negatives, supplemented by books, manuscripts, journals, and memorabilia of photographers.
“McDonald’s broad experiences — from teaching to curatorial — confirmed that she can lead our photography department, build the collection, support research, and plan exhibitions,” said Ransom Center Director Thomas F. Staley. “The possibilities under her guidance are exciting.”
McDonald’s professional experience includes affiliations with the San Francisco Museum of Modern Art, the Visual Studies Workshop and George Eastman House International Museum of Photography and Film. In 2011, McDonald received an Ansel Adams Research Fellowship from the Center for Creative Photography.