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Photo Friday

By Jennifer Tisdale

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.

Gallery light fixtures on rolling storage rack. Photo by Anthony Maddaloni.
Gallery light fixtures on rolling storage rack. Photo by Anthony Maddaloni.

Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.
Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.

Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.
Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.

Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.
Vinyl graphics are installed in the upcoming exhibition “Becoming Tennessee Williams,” which opens on Tuesday, February 1. Photo by Anthony Maddaloni.

Photo Friday

By Jennifer Tisdale

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.

Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.

Photo Friday

By Jennifer Tisdale

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.

Sonja Reid, registrar with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.' Photo by Pete Smith.
Sonja Reid, registrar with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.' Photo by Pete Smith.
Wyndell Faulk, preparator with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.'  Photo by Pete Smith.
Wyndell Faulk, preparator with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.' Photo by Pete Smith.
John Wright, chief preparator with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.' Photo by Pete Smith.
John Wright, chief preparator with the Ransom Center's exhibition services, works to de-install the exhibition 'Discovering the Language of Photography: The Gernsheim Collection.' Photo by Pete Smith.

Happy Holidays

By Alicia Dietrich

Some of the thousands of 'Dear Santa' letters received at the General Post Office at Christmastime. December 13, 1955. 'New York Journal American' collection.
Some of the thousands of 'Dear Santa' letters received at the General Post Office at Christmastime. December 13, 1955. 'New York Journal American' collection.

Cultural Compass will be on hiatus during the University’s winter break and will return with new content the week of January 3. Holiday hours for the Ransom Center are as follows:

Ransom Center Galleries
10 a.m.–5 p.m. Tuesday, Wednesday, and Friday
10 a.m.–7 p.m. Thursday
Noon–5 p.m. Saturday and Sunday

Please note that the Ransom Center Galleries are closed Mondays and the following holidays:
Christmas Eve Day (Friday, December 24)
Christmas Day (Saturday, December 25)
New Year’s Day (Saturday, January 1)

Through January 2, visitors can see the current exhibition, Discovering the Language of Photography: The Gernsheim Collection, as well as The First Photograph and the Gutenberg Bible, which are on permanent display.

Free docent-led tours of the Gernsheim exhibition will be offered at 2 p.m. on the following dates:

Saturday, December 18
Sunday, December 19
Sunday, December 26
Sunday, January 2

The Reading Room and administrative office will close on Friday, December 24, and they will reopen on Monday, January 3.

View video of “Gernsheim Plays 20 Questions with George Bernard Shaw”

By Courtney Reed

In this video clip from a 1978 interview, J. B. Colson, Professor Emeritus of Journalism and Fellow of the Dolph Briscoe Center for American History, asks Helmut Gernsheim about his letter collection of famous and contemporary photographers, including correspondence with George Bernard Shaw. In this clip, Gernsheim discusses how he asked Shaw 20 questions about his interest in photography and Shaw’s response.

View the exhibition Discovering the Language of Photography: The Gernsheim Collection at the Harry Ransom Center through January 2. The galleries are open Tuesdays through Fridays 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. The galleries are closed on Mondays.

Holiday hours at the Ransom Center

By Alicia Dietrich

The Harry Ransom Center. Photo by Pete Smith.
The Harry Ransom Center. Photo by Pete Smith.

While the Ransom Center will be closed for Thanksgiving Day, the galleries will be open from 10 a.m. to 5 p.m. on Friday, November 26, and from noon to 5 p.m. on this Saturday and Sunday.

Vistors can see the current exhibition, Discovering the Language of Photography: The Gernsheim Collection, as well as The First Photograph and the Gutenberg Bible, which are on permanent display.

Free docent-led tours of the Gernsheim exhibition are offered at 2 p.m. on this Saturday and Sunday.

The Reading Room will be closed on Friday, November 26, and Saturday, November 27, but will reopen on Monday, November 29.

Your field guide to the Ransom Center

By Richard Oram

Plantin Polyglot Bible, 1569-1573.
Plantin Polyglot Bible, 1569-1573.
A completely revised Guide to the Collections has appeared on the Center’s website, superseding one based largely on the published edition of 2003 (now out of print). The Guide does not replace standard cataloging but supplements it, emphasizing topical access across the collections.

Changes in scholarship since the first edition of the Guide was published in 1990 are reflected in the new version. For example, there wasn’t a Gay and Lesbian chapter in the 1990 guide; one was added in 2003, and in 2010 it has expanded into a long section on Lesbian, Gay, Bisexual, Transgendered, and Queer (LGBTQ) studies. The history of the book was just finding its way as a discipline back in 1990 (when it was “Book Arts”). The current version includes a much wider variety of resources. A full-blown chapter on African Studies has now grown out of a small section on African literature.

The Guide also spotlights some so-called “hidden collections” that are so much a part of the charm of special collections. Every large library has them. These are collections that are uncataloged or for various reasons hide in the recesses of the stacks, biding their time. To take one example: the elegant set of uniformly bound European letter-writing manuals (seventeenth to nineteenth centuries) assembled by a collector named H. M. Beaufroy. These are easily overlooked in the online book catalog (and difficult to find, even for me!) but now have a niche in the Guide.

Few people will understandably have much interest in browsing the full text of the Guide, but for those who do, surprises await. Who would have thought that we have a large collection of “squeezes” (papier-mâché pressed into classical inscriptions in stone) of interest to scholars (epigraphers) who study such things? Or that we own the correspondence of the Duke of Wellington with a young religious zealot that “portrays the aging general’s generosity and patience.” Or a group of Franz Liszt’s letters to his daughters, Blandine and Cosima (later Richard Wagner’s wife), “expressing his concern over their education and their intellectual and artistic development.” Not to mention the tens of thousands of pieces of sheet music used by the piano players of the Interstate Theater chain to accompany silent films.

The entire Guide text is searchable using the website’s search feature. Another notable improvement to the website is a new “portal” to the finding aids for archival and visual collections, which allows easy browsing by collection name and type of material as well as keyword searching.

Tonight: "The Lives and Work of Helmut and Alison Gernsheim"

By Courtney Reed

Cover of ‘The Gernsheim Collection’
Cover of ‘The Gernsheim Collection’

Tonight, J. B. Colson, Professor Emeritus of Journalism and Fellow of the Dolph Briscoe Center for American History, and Roy Flukinger, Ransom Center Senior Research Curator of Photography, discuss the lives and work of Helmut and Alison Gernsheim at the Ransom Center.

This event will be webcast live and is held in conjunction with the exhibition Discovering the Language of Photography: The Gernsheim Collection, on display through January 2, and the release of the book The Gernsheim Collection. A book signing of The Gernsheim Collection follows.

In this video clip from a 1978 interview, Colson asks Helmut Gernsheim about his passion for collecting and his career as a pioneering historian of photography. Helmut and Alison Gernsheim’s efforts significantly contributed to the acceptance of photography as a fine art and as a field worthy of intellectual study. In this clip, Gernsheim discusses how and why he started collecting photography before it became an established practice.

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