Anne Tucker, curator of the Museum of Fine Arts, Houston, discusses her research on wartime photography collections found at the Ransom Center. Her work covers collections ranging from Roger Fenton’s documentation of the Crimean War to the World War I photographs of Jimmy Hare to Edward Steichen’s images of the American Navy in World War II.
“To be able to look at the objects of the time in depth is an irreplaceable experience for understanding a time in which you didn’t live,” Tucker said.
Tucker’s research, “We Bear Witness: Photographers Responding to War,” was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment. The Ransom Center is now accepting applications for the 2012–2013 fellowship program.
What’s the result of 565 minutes of interview recordings with 12 people, 480 minutes of b-roll footage, and nine separate music tracks? The answer is a ten-minute video that provides a broad overview of the Ransom Center’s collections, scholarship, conservation, exhibitions, and programs.
Watch the video to hear curators, students, members, and conservators discuss their work and learn how the Center shares and celebrates the creative process. From a Houdini movie poster to letters by Edgar Allan Poe, from Jack Kerouac’s notebook to Robert De Niro’s make-up stills, the video showcases the range of materials that are housed at the Center.
On a trip to Edinburgh in the summer of 1953, novelist Graham Greene and producer John Sutro met Margy Crosby Leifeste and Mary Alexander Sherwood, roommates and Pi Phi sorority sisters who had recently graduated from The University of Texas at Austin. Charmed by the young women, Greene and Sutro jokingly established the Anglo-Texan Society. Here’s the story as Mary remembers it.
Mary and Margy were traveling Europe on a two-month group tour. One of their first activities was to see Graham Greene’s play The Living Room in London. Two months later, they arrived in cold, rainy, and misty Edinburgh. Several girls on the trip went shopping, but Mary and Margy decided to stay back at the hotel and drink some tea to “warm our bones,” Mary recalls.
While drinking their tea, a waiter handed them a note reading: “If by any chance you are free, would you come to see The Devil’s General tomorrow night or to have a drink with us to discuss the matter tonight? Signed, Graham Greene and John Sutro.” Mary and Margy figured their friends were pulling yet another practical joke, so they told the waiter he must be mistaken.
“We spent the next 15 minutes saying, what if it was? Oh! What stupid people we are not to have at least said, why sure, and gone to see,” Mary recalls.
As they got up to leave, two men emerged from behind a screen and said: “We didn’t mean to offend you, but my name is John Sutro, and this is Graham Greene, and we would like for you to have a drink with us.”
Mary and Margy accepted the invitation, and Greene fired question after question about their travels and reactions to Europe.
“They were hanging on our every word, asking questions. They really seemed to be interested in our answers, which was sort of a first,” Mary says.
As the evening wrapped up, Greene again invited Margy and Mary to see The Devil’s General. They both declined. Mary had to catch an overnight train to visit a friend in London, and Margy had to attend a farewell dinner.
“I know what we’ll do,” Greene said. “You, Ms. Alexander, pack your bags. You come to the first two acts of the play, we will put you in a taxi with your suitcase, and off to London you go. And you, Ms. Crosby, after your dinner, you come to the third act of the play, and then we’ll have dinner with Trevor Howard and the producer.”
Mary and Margy accepted. In their ship cabin on the return trip were a dozen yellow roses and a card reading, “Happy landfall.Come back soon. Graham.”
“I really think that there is a side to Graham Greene that you don’t know about, that may surprise you. And that is that he’s a gentleman and a very thoughtful, sensitive, compassionate person,” Mary said.
On the train back to London, Greene and Sutro jokingly decided to establish an Anglo-Texan Society, and they ran an announcement in The Times.
“Much to the astonishment of Graham Greene and John Sutro, some people took it very seriously. At one of the first big meetings in London, they sent three steers, Texas’s best beef, and all sorts of barbecue sauce. 1,500 people attended,” Mary said.
Years later, Mary says people often ask whether she and Margy were afraid when Greene and Sutro invited them to the play.
“Absolutely not. We had no fear of anything. I remember thinking to myself at that time, I could live anywhere in the world. I was just totally without fear of any kind,” Mary says. “Though all of this gave the tour leader a heart attack.”
Related blog posts:
Fellows Find: Graham Greene papers lift curtain on author’s psyche
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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.
Commentary magazine has donated its archive to the Ransom Center. Founded in November 1945, just months after World War II, Commentary magazine was established to reconnect assimilated American Jews and Jewish intellectuals with the broader Jewish community and to bring the ideas of young Jewish intellectuals to a wider audience.
According to historian Richard Pells, Professor Emeritus at The University of Texas at Austin, “no other journal of the past half century has been so consistently influential, or so central to the major debates that have transformed the political and intellectual life of the United States.”
Throughout its history, Commentary has published significant articles on historical, political, cultural and theological issues in addition to fiction and memoirs. The magazine has a reputation for featuring many of the leading intellectual and cultural figures of the time.
Spanning from 1945 to 1995, the archive consists mainly of editorial correspondence, galleys and other records. The collection contains correspondence with a number of writers whose archives reside at the Ransom Center, including Norman Mailer, Bernard Malamud and Isaac Bashevis Singer, in addition to correspondence with S. Y. Agnon, Hannah Arendt, James Baldwin, Saul Bellow, William F. Buckley, George W. Bush, Henry Kissinger, George Orwell, Amos Oz, Philip Roth, Elie Wiesel, Tom Wolfe, and A. B. Yehoshua.
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The Harry Ransom Center owns a collection of materials related to magician Harry Houdini, whose 137th birthday is today. The above slideshow highlights some examples of materials in the collection.
Parts of the Houdini (1874-1926) collection pertain to the numerous magicians with whom Houdini cultivated personal relationships, but the focus of this collection is the life and career of Houdini himself. Manuscript material in the collection includes Houdini’s correspondence with magicians and writers; letters to his wife Bess, 1890s–1926; manuscript notes and revisions for A Magician among the Spirits (1924), along with Houdini’s annotated printed copy; and the correspondence of A. M. Wilson, editor of The Sphinx, 1905–1923. Houdini’s films are represented by the script for The Master Mystery (1918), news clippings and a press kit for The Man from Beyond (1922), and publicity photographs. His interest in spiritualism is documented by a newspaper clipping file on spiritualism, manuscript notebooks on spiritualism and theater, and history of magic scrapbooks, 1837–1910.
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Culture Unbound: Collecting in the Twenty-First Century can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours to 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.
Becoming Tennessee Williams can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours to 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.
“Wild at Heart,” the opening party for the spring exhibitions, is just one of the many exciting events that the Ransom Center has planned for members. View full calendar featuring a curator tour, mixology class, Magnum Photos presentation, and more. We invite you to join, upgrade, or renew today to experience all that the Ransom Center has to offer. Below, view the new membership video, featuring members speaking about what they enjoy most about their involvement with the Harry Ransom Center.