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Win tickets to "Face to Face" exhibition opening

By Kelly Dewitt

Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.
Arnold Newman, "Marilyn Monroe and Carl Sandburg" (Detail), 1962. © Arnold Newman/Getty Images.

The galleries are being transformed in preparation for the Ransom Center’s new photography exhibition Arnold Newman: Masterclass. We hope you will join us for “Face to Face,” the opening celebration for the exhibition from 7 to 9 p.m. on Friday, February 15.

Sip on refreshments from Austin Wine Merchant and Dripping Springs Vodka, pose in an Arnold Newman-inspired analog photo booth created by the Lomography Gallery Store, enjoy treats at The Cupcake Bar’s dessert station, and view screenings of Arnold Newman interviews and film clips.

Be among the first to explore photographer Arnold Newman’s iconic portraits of celebrities and cultural figures including John F. Kennedy, Salvador Dalí, Ansel Adams, and Pablo Picasso, among others. Newman’s archive resides at the Ransom Center.

Guests will have the opportunity to enter a drawing for a Newman-inspired prize package that includes brunch for two at Fonda San Miguel, a stay at the Heywood Hotel in East Austin, a darkroom class with photographer Anthony Maddaloni, a Lomography camera, a membership to Austin Center for Photography, and more.

Ransom Center members enjoy complimentary admission and valet parking at this event. If you are not yet a member, you may join or order individual $20 tickets at the door. Tickets are also available online until Friday, February 8. Valet parking is not included for non-members.

The Ransom Center is giving away a pair of tickets to “Face to Face.” Email hrcgiveaway@gmail.com with “Arnold Newman” in the subject line by midnight CST tonight to be entered in a drawing for complimentary admission for two. The winner will be notified by email on Monday, February 11.

Special thanks to these sponsors: Anthony Maddaloni Photography, Austin Center for Photography, Austin Wine Merchant, Dripping Springs Vodka, Fonda San Miguel, Heywood Hotel, Lomography Gallery Store, and Thames & Hudson.

In the Galleries: Norman Bel Geddes’s 1931 film of "Hamlet" production

By Ady Wetegrove

By the time Norman Bel Geddes began work on a contentious adaptation of William Shakespeare’s Hamlet in 1931, he was considered an established theatrical designer and a pioneer of the New Stagecraft movement in America. Collaborating with literary advisor Clayton Hamilton, Bel Geddes abridged the play in order to communicate Shakespeare’s text through the characters’ actions, rather than rely on realistic backdrops or extended soliloquies. In addition to marking Raymond Massey’s American theater debut, the production of Hamlet served as the subject of Bel Geddes’s own amateur documentary film.

Throughout his career, Norman Bel Geddes filmed the genesis of his design projects to record each stage of the creative process. Bel Geddes also used film to produce amateur motion pictures on subjects such as insect behavior and ones in which he portrays an imaginary naturalist named Rollo.

Of the major American productions of Hamlet in 1931, critics deemed Bel Geddes’s version the most radical. Serving as both designer and director, Bel Geddes sought to transform the classical literary piece into a modernized, emotionally charged, melodramatic production. Bel Geddes’s controversial Hamlet elicited outcries from many Shakespearean enthusiasts who found Bel Geddes’s experimentation distasteful. Bel Geddes’s aim, however, was not to recreate a traditional depiction of the Shakespearean tragedy but instead, to “produce upon a modern audience an emotional response as similar as possible to that which Shakespeare produced upon his Elizabethan audience.”

Although Bel Geddes had experimented with powerful bursts of focused colored lighting in earlier productions such as The Miracle, his lighting innovations in Hamlet eclipsed all previous techniques. Highly concentrated light illuminated actors on one raised platform, while stagehands worked in darkness to prepare other scenes on adjacent platforms. A technologic innovation in 1931, the sharply focused light contributed to Bel Geddes’s vision of an updated and modernized Hamlet.

Bel Geddes developed a spatial arrangement that aligned with the characters’ actions rather than the traditional patterns of movement. Specifically, he positioned steps and platforms diagonally on stage at New York’s Broadhurst Theater. The austere, architectural set and minimalist style of the geometric blocks fostered dynamic movement on the stage, and the production adopted a swift, cinematic pace.

Hamlet is one of the few filmed theater productions that survives in Bel Geddes’s archive. The 16-millimeter black and white footage shown here is an excerpt from an hour-long amateur documentary in which Bel Geddes captures every phase of the development of Hamlet—from the creation of models and action charts, to rehearsals, and opening night. The Hamlet documentary, which offers a rare behind-the-scenes glimpse into the inner workings of 1930s theater productions and of Bel Geddes’s creative process, is one of over 300 short films by Norman Bel Geddes housed in the Ransom Center’s moving image archives.

Because Bel Geddes filmed Hamlet with two different types of 16-millimeter film—reversal film and negative film—on the same reel, the film deteriorated at different rates, causing preservation difficulties. The digitization of Bel Geddes’s films was made possible by grant support from the National Film Preservation Foundation.

Learn more about Bel Geddes in the Ransom Center’s exhibition I Have Seen the Future: Norman Bel Geddes Designs America, on display through today.

Three degrees of separation: Industrial designers find inspiration with Norman Bel Geddes

By Harry Ransom Center

 

A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.
A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.

Scott Lauffer, an Industrial Design Director at Dell’s Enterprise Product Group, recently visited the exhibition I Have Seen the Future: Norman Bel Geddes Designs America with a group of colleagues, primarily industrial designers and engineers. The group takes occasional offsite visits to find inspiration. This is the third visit the group made to the Ransom Center over the past few years. Lauffer shares his observations from the visit.

As designers I think we all drew inspiration from the versatility that Norman Bel Geddes displayed not only in the types of work that he consulted on, but the salesmanship he exhibited to convince many of his clients to invest in creating better human experiences in a time before it was expected and demanded by consumers. His background in theater probably served him well in being a better storyteller for his vision. His approach for researching and understanding human behavior along with model building and storytelling are all techniques that we draw on heavily as designers today.

It was interesting to see how Bel Geddes not only influenced our group’s profession of industrial design, but also our industry, albeit indirectly. Elliot Noyes, who founded the Industrial Design program for IBM and pioneered the corporate design discipline in 1956, was previously employed by Bel Geddes. We later discovered there were only three degrees of separation for some of us: Bel Geddes to Elliot Noyes to Tom Hardy, with whom some of us previously worked in his capacity as design director at IBM.

The exhibition was crafted to educate a wide audience through thoughtfully selected examples that represent the breadth of Bel Geddes’s work, without overwhelming. The courage Bel Geddes showed in proposing the visionary and using this to stretch the imagination of his clients is inspirational.

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.

"Norman Bel Geddes Designs America" receives media attention

By Jennifer Tisdale

Norman Bel Geddes Designs America (Abrams) is the first book to explore the entire scope of American designer, urban planner, and futurist Norman Bel Geddes’s life, career, and projects.

Media outlets, including the New York Times Book Review, Fortune, the Telegraph, the San Francisco Chronicle, the Austin Chronicle, Wallpaper and the New York Post, have made note of this publication.

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.

Complementing the book is the Ransom Center’s exhibition I Have Seen the Future: Norman Bel Geddes Designs America, which runs through January 6, 2013.

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 work place design, as well as his famous Futurama installation and his working process. More than 400 illustrations from the Bel Geddes archive at the 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 and online. Members receive a discount.

Sanora Babb: Stories from the American High Plains

By Ady Wetegrove

Photo of Sanora Babb. 1938.
Photo of Sanora Babb. 1938.

Coming of age on the American High Plains, American novelist Sanora Babb was familiar with the endeavor for dignity among the people living in the poverty-stricken area. With her intimate knowledge of the landscape, she provided access to the daily circumstances of individuals struggling to survive in the Dust Bowl. Babb sought to depict the High Plains as a featureless physical space, while humanizing “the Great American Desert” as the stage on which people’s daily lives unfolded.

The Ransom Center holds the Sanora Babb papers, and some of the materials are highlighted in the Center’s web exhibition Sanora Babb: Stories from the American High Plains. In her fiction, Babb sought to illuminate the stories of those families who left little written account of the unrelenting duress and the socio-economic strife that characterized the American High Plains at mid-century. Materials from this collection are also featured in this Sunday’s premiere of Ken Burns’s new documentary The Dust Bowl on PBS, which draws heavily on Babb’s novels and documentary writings.

Before the stock market crash in October 1929, Babb moved from Colorado to Los Angeles where she found work as a scriptwriter for a radio station and began publishing her literary work in experimental activist magazines. These “little magazines” helped Babb get her foot in the door, and she soon met writers Dorothy Parker, Ralph Ellison, Genevieve Taggard, Nathanael West, John Howard Lawson, Theodore Dreiser, and B. Traven.

Increasingly involved in political activism and social advocacy, Babb worked with the Farm Security Administration (FSA) to set up tent settlements for the dispossessed in California’s farmlands. Babb’s employment with the FSA, as well as her own childhood experiences, provided the subtext for her first novel, Whose Names Are Unknown, which chronicles the lives of displaced High Plains families and their struggle to find work as seasonal harvesters in California.

Although Random House accepted Babb’s novel for publication in 1939, the contract was rescinded when John Steinbeck’s Grapes of Wrath was published during the same year. According to Random House editor Bennet Cerf, the market could not support two books with similar subjects. Although both Steinbeck and Babb explore the Dust Bowl exodus of the 1930s, the authors interpret the difficult conditions in starkly different terms. In Whose Names Are Unknown, the intimate world of human relationships relies on testimonial witnessing, while Grapes of Wrath employs symbolic means to represent the condition of “Oakies.”

Disappointed that Whose Names are Unknown was eclipsed by Steinbeck’s work, Babb turned her attention to the manuscript of her second novel, The Lost Traveler (1958). Babb continued to work as a writer and publisher into her eighties, publishing An Owl on Every Post (1971), Cry of the Tinamou (1997), and Told in the Seed (1998). A re-edited manuscript of Whose Names Are Unknown, published in 2004, received critical recognition as a rival to Steinbeck’s Grapes of Wrath.

Remembering Futurama at the 1939 New York World’s Fair

By Edgar Walters

Bob Hesdorfer visits "I Have Seen the Future: Norman Bel Geddes Designs America." Hesdorfer attended Bel Geddes' Futurama exhibit at the 1939 New York World's Fair. Photo by Alicia Dietrich.
Bob Hesdorfer visits "I Have Seen the Future: Norman Bel Geddes Designs America." Hesdorfer attended Bel Geddes' Futurama exhibit at the 1939 New York World's Fair. Photo by Alicia Dietrich.

Norman Bel Geddes’s Futurama exhibit, dedicated to “building the world of tomorrow,” proved to be a step into Bob Hesdorfer’s future before he’d even arrived.

“I was probably 14,” says Hesdorfer, referring to the spring day in 1939 that he and a classmate spent at the New York World’s Fair. The exhibit, which took place at Flushing Meadows-Corona Park, marked one of his first ventures into adulthood. Hesdorfer recalls, “For the very first time, I was allowed to take the Long Island Railroad and the New York City Subway on my own.” Nearly three-quarters of a century later, he still remembers it fondly.

Upon arriving, Hesdorfer recounts, “We hit many of the pavilions, but we couldn’t begin to cover the whole fair in one day. I think the General Motors [Futurama exhibit] was the one we headed for first.” They weren’t alone in their eager enthusiasm. “As I recall, there were long lines waiting to get in.” When asked whether he thought the other guests were as excited as he was, Hesdorfer responded, “Oh, you could just tell.”

Simply entering Futurama proved arresting: “We were overwhelmed. It was really something that I had never seen before… We were curious about what it was all about,” says Hesdorfer. More than just a collection of sleek predictions, the exhibit represented an entirely new way of viewing a world shaped by humans. It allowed viewers a departure from temporal technological constraints, offering a tangible example of a delightful but elusive concept: the potential of the future. For Hesdorfer, who grew up to be a graphic designer, the experience was particularly inspiring. “Everything was smooth and clean and rounded and pristine… I appreciated the concept and the design work that went into it… I thought I could have been an automobile designer… I would have liked to have been an industrial designer as Bel Geddes was.”

Hesdorfer with Ransom Center Director Thomas F. Staley. Photo by Alicia Dietrich.
Hesdorfer with Ransom Center Director Thomas F. Staley. Photo by Alicia Dietrich.

Hesdorfer describes the experience: “When we got to the Futurama model, they had these chairs on a conveyor belt, and we got in a couple chairs and rode around the whole thing. The model was in the middle below us and we could look down on it.”

“There was a voice describing what we were seeing, and it was just mindboggling… The traffic was below ground, or at least below the sidewalk level, and the sidewalks were above and around. There was no direct contact with the traffic, so it was safer and easier. You didn’t have to wait to cross the street or for the light to change.”

Some of Bel Geddes’s predictions, nearly inconceivable at the time, now seem believable. Hesdorfer recalls, “One of the things that they predicted was keeping automatic distance between vehicles on the highway, and now I guess it’s just about ready for use in the cars.”

The fair made a lasting impression on the boys. When asked whether Hesdorfer knew at that age who Norman Bel Geddes was, he responded, “Probably not before [Futurama].” He’s certainly known about him ever since.