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Museums and Libraries Celebrate the 150th Anniversary of Lewis Carroll’s Famed Work

By Marlene Renz

2015 marks the 150th anniversary of Lewis Carroll’s classic story Alice’s Adventures in Wonderland. Since its publication in 1865, the book has never been out of print. It has been translated into countless languages and has become a work that truly transcends the time and culture in which it was written.


In honor of the book’s legacy the Harry Ransom Center presents Alice’s Adventures in Wonderland. This exhibition follows the evolution of Carroll’s story through time, around the world, and across different types of media, from stage and screen to children’s toys. The exhibition offers something for everyone and provides interactive opportunities throughout. Highlights of the exhibition include a rare copy of the 1865 “suppressed” edition, Carroll’s own photograph of Alice, Edith, and Lorina Liddell, the sisters who inspired the story, and Salvador Dalí’s 1969 illustrations.


View the Ransom Center’s Alice’s Adventures in Wonderland video preview.


Museums and libraries around the world are joining in the observance of Alice’s sesquicentennial. In New York City, the Morgan Library & Museum will display Dodgson’s original manuscript (on loan from the British Library) in its upcoming exhibition Alice: 150 Years of Wonderland, while Vassar College Archives and Special Collections Library will exhibit an early printing of Alice’s Adventures in Wonderland alongside other works of fantasy from the period. John Tenniel’s original drawings will be shown at Harvard’s Houghton Library, and Philadelphia’s Rosenbach Museum & Library will exhibit Carroll’s letters to publisher Alexander MacMillan and a first edition of the book from his library.


Browse upcoming Alice-related events on this list, compiled by The Lewis Carroll Society and the Lewis Carroll Society of North America.


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The Photography of Charles Lutwidge Dodgson (Lewis Carroll)

By Roy Flukinger

Lewis Carroll (Charles Lutwidge Dodgson), “W. L. Dodgson,” 1869. Albumen print, 7.5 x 6 inches. Gernsheim Collection.
Lewis Carroll (Charles Lutwidge Dodgson), “W. L. Dodgson,” 1869. Albumen print, 7.5 x 6 inches. Gernsheim Collection.


On Tuesday, March 10, at 4p.m., Roy Flukinger, Senior Research Curator of Photography, speaks about the photography of Charles Lutwidge Dodgson—better known to the world as Lewis Carroll. Flukinger will discuss Dodgson’s pursuit of photography and his recognition as one of the most accomplished amateur photographers of the Victorian Era. The program, presented in conjunction with the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, is free and open to the public. Seating is first-come, first-served, and doors open at 3:30 p.m.


In July of 1865, Charles Lutwidge Dodgson returned home from a visit to the family of Rev. Conyngham Ellis, the Rector of Cranbourne. In a letter quickly posted to the eldest Ellis daughter, Dymphna, Dodgson asked for help with a bit of unfinished business. He wrote,


Of course I left something behind—always do: this time it was my album of photographs (and autographs). And we also forgot to get your names written in it. So will you please turn 2 or 3 pages on after ‘Mary Millais,’ and then sign your name in the same place in the page as she did, only about half an inch lower down, and then get Mary, Bertha, and Kate to do the same thing in the 3 following pages. And then will you send it by train to Croft Rectory, Darlington. Thank you—much obliged.


Dymphna followed Dodgson’s instructions and returned the album, which Dodgson titled Photographs Vol. III. One hundred and fifty years later, it is one of five Dodgson albums held in the photography collection at the Harry Ransom Center.


Dodgson carried his albums with him on visits to friends and family, using them not only to show off his photographic work, but also to help him persuade parents and their children to pose for him. The letter to Dymphna Ellis reveals Dodgson’s method of collecting signatures on blank leaves of albums when he made the portraits. He then packed away the albums and negatives and returned to his darkroom to make the albumen prints, pasting them to the appropriate album pages. Photographs Vol. III contains more than a dozen pages bearing a signature but no mounted photograph, suggesting that the photographer did not always secure a final portrait that met his expectations.


Dodgson’s albums offer crucial information about his working process but also provide a tangible record of his artistry. Like his diaries, they also reinforce the record of his travels and his interactions with numerous acquaintances throughout Victorian Britain. And, perhaps most critically, they subtly provide us with a deeper and more richly nuanced portrait of the man himself.


The Ransom Center’s exhibition Alice’s Adventures in Wonderland is on view through July 6. Share with #aliceinaustin.


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Meet the Staff: Ken Grant, Exhibition Conservator and Head of Exhibition Services

By Marlene Renz

Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Ken Grant received a Bachelor of Science in Geology from the University of Iowa and then worked as a logging geologist in the oil field for six years. In 1992 he started at the State University of New York College at Buffalo where he later received his Master of Arts in Paper Conservation. He joined the Ransom Center in 1997 and has worked as Assistant Paper Conservator and Paper Conservator, but he now serves as Exhibitions Conservator and Head of Exhibition Services.

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The “Wildly Strange” Photographs of Ralph Eugene Meatyard

By Jessica McDonald

The exhibition Wildly Strange: The Photographs of Ralph Eugene Meatyard opens March 7 at The University of Texas at Austin’s Blanton Museum of Art. The exhibition features more than 35 photographs exclusively drawn from the Ransom Center’s photography collection and archives of writers from Meatyard’s intellectual circle. The exhibition is organized by Jessica S. McDonald, the Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Harry Ransom Center. The exhibition will be on view through June 21.


Studying the creative process of artists and writers, as well as tracing collaborations and intersections between them, is at the core of research at the Harry Ransom Center. In March 2015, the Ransom Center will highlight the intersection of photography and poetry in its collections, while celebrating creative collaboration across campus, in an exhibition organized with the Blanton Museum of Art. Wildly Strange: The Photographs of Ralph Eugene Meatyard will feature approximately 35 photographs exclusively drawn from the Ransom Center’s photography collection and archives of writers in Meatyard’s intellectual network.


In the late 1950s, Meatyard (1925–1972) began staging elaborate visual dramas enacted by his wife, children, and close friends, and experimenting with multiple exposure, blur, and abstraction to imbue his images with an ambiguous, dreamlike quality. The abandoned farmhouses and densely wooded forests of rural Kentucky served as sets for Meatyard’s symbolic scenes, turning otherwise ordinary family snapshots into unsettling vignettes of life in a deteriorating South. Meatyard called these photographs “Romances,” adopting the definition American satirist Ambrose Bierce provided in his Devil’s Dictionary: “Fiction that owes no allegiance to the God of Things as They Are.”


Groundbreaking in their time and challenging even today, Meatyard’s photographic fictions were embraced by his circle of writers and artists in Lexington, Kentucky. Guy Davenport (1927–2005), a close friend and neighbor, was routinely one of the first to examine Meatyard’s new work and used one of his photographs on the cover of Flowers & Leaves, Davenport’s 1966 long poem. Just after Davenport viewed the last of Meatyard’s photographs in 1972, he wrote to literary scholar Hugh Kenner of the “wildly strange pictures” he had seen. The exhibition will present an intriguing selection of Meatyard’s “Romances” made between 1958 and 1970, including rare variants of published images.


While Meatyard’s “Romances” are familiar to those who study and appreciate photography, his evocative portraits of writers are less well known. Often incorporating the spectral blur and unconventional angles of his primary work, they served as unconventional authors’ portraits for book jackets and promotional materials. Prints were exchanged among Meatyard’s sitters, and many entered the Ransom Center’s collections with their archives. A group of these portraits will be assembled in Wildly Strange: The Photographs of Ralph Eugene Meatyard to highlight the relationships both between these creative figures in Lexington and across the collections at the Ransom Center.


As the Ransom Center continually seeks innovative ways to share its collections, this collaboration with the Blanton Museum of Art will introduce its photography holdings to a new audience and will demonstrate the collective strength of the cultural institutions across The University of Texas at Austin campus.


Related content:

Manuel Álvarez Bravo and His Contemporaries: Photographs from the Collections of the Harry Ransom Center and the Blanton Museum of Art


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Draw Me: A history of the illustrated Alice

By Alexandra Bass

Sir John Tenniel. Dalí. Yayoi Kusama. What do these artists of vastly different styles, mediums, and artistic movements have in common? Each, along with many other artists, has tried their hand at illustrating Lewis Carroll’s classic Alice’s Adventures in Wonderland, a tale so whimsical it demands illustrations. Alice appeals to such a broad range of artists because the creative quality of the story gives artists freedom to interpret the look of the story in any way they please, and the book’s quirky sense of fun is irresistible.


The novel’s first illustrator was none other than its author. Charles Lutwidge Dodgson—alias Lewis Carroll—created a handwritten manuscript with 37 illustrations for the story’s muse, Alice Liddell, after she asked him to write down the fantastical story he told her one lazy summer afternoon on a boat ride. Although somewhat amateurish, the ink illustrations depict a sweet, pretty Alice, not unlike the famous Tenniel illustrations. Indeed, Tenniel, a famous Victorian political cartoonist, and Dodgson worked closely together in creating the now-classic illustrations for the first published edition.


Tenniel’s classical and rather prim imagining of Alice remained the standard throughout the nineteenth century and still remains the most recognizable Alice illustration today. It was not until the turn of the twentieth century that other illustrators tried their hands at Alice. These illustrations reflect the aesthetic of their time. Mabel Lucie Attwell’s 1910 rendering of Alice and Margaret W. Tarrant’s 1916 version are sweet and feminine and still very much geared toward a young audience.


By the middle of the century, illustrations of Alice became more experimental. German illustrator Wiltraud Jasper’s 1958 version is edgy and minimal, all in black and red. In 1969, iconic surrealist Salvador Dalí put his spin on Carroll’s story, creating a dreamy, abstract, and characteristically melty Wonderland in a melancholy color palate.


More recently, Japanese pop artist Yayoi Kusama has re-imagined Alice in her signature polka dots in a 2012 Penguin publication of Alice’s Adventures in Wonderland. Kusama steers away from the “classic” scenes of illustrations and instead focuses on details. For instance, the Mad Tea Party chapter features a red-and-black polka-dotted bowler hat instead of the traditional scene of the eccentric cast of characters tucking into high tea at a long table.


At the very onset of her story, Alice muses to herself about the importance of illustrations: “‘And what is the use of a book,’ thought Alice, ‘without any pictures?’” What use indeed? Would Alice’s Adventures in Wonderland be the classic book and cultural phenomenon that it is without pictures? Likely not—both readers and illustrators alike have fun with the creative freedom offered by the Alice books.


See examples of some of these illustrations in the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, on view through July 6. Share with #aliceinaustin.


Related content:

From the Outside In: Illustration from Alice’s Adventures in Wonderland, John Tenniel, 1865

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Mad Hatter Teas complement “Alice’s Adventures in Wonderland” exhibition

By Jennifer Tisdale

“It’s always tea time” according to the Mad Hatter. With this in mind, Four Seasons Hotel Austin is pleased to offer a special Alice-themed Mad Hatter Tea in conjunction with the Harry Ransom Center’s Alice’s Adventures in Wonderland exhibition.


Complementing Alice’s Adventures in Wonderland, the Mad Hatter Teas take place during the run of the exhibition on February 22, March 29, April 26, May 31, June 28, and July 5, 2015, from 2 p.m. to 5 p.m.


Hosted in the Four Seasons Lobby Lounge, the teas feature creative treats, such as “Eat Me” carrot cupcakes, shortbread clock cookies, cheshire macarons, and queen of hearts cakes. Special decor, an “Alice in Wonderland” photobooth, and the classic movie playing on the big screen complete the whimsical event.


The Mad Hatter Teas are $42 per adult and $30 per child. Seats are limited. Reservations are required and can be made by contacting the Four Seasons at 512-478-4500.


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Image: Photo courtesy of Four Seasons Hotel Austin.


In the Galleries: “The Rectory Magazine”

By Danielle Sigler

The man who became famous as Lewis Carroll was born Charles Lutwidge Dodgson in 1832. Dodgson, the third of 11 siblings, grew up in northern England surrounded by his brothers and sisters. Together they put on plays and created family publications like The Rectory Magazine, named for their home in Croft-on-Tees. Dodgson’s father was an Archdeacon in the Church of England and lived in a rectory, or a residence for the parish clergyman.


This edition of The Rectory Magazine includes essays, poems, and short stories, as well as hand-drawn and colored illustrations. The sense of humor and parody that appear in much of Carroll’s later work is already evident in The Rectory Magazine, produced when Dodgson was 18 years old.


Visitors to the Ransom Center’s exhibition Alice’s Adventures in Wonderland, on view through July 6, can turn the pages of a digital version of The Rectory Magazine on a touchscreen in the galleries.


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Related content

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