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.
John Pipkin, of Southwestern University and The University of Texas at Austin, discusses using the Herschel collection at the Ransom Center to conduct research for his forthcoming novel The Blind Astronomer’s Atlas. Pipkin’s research was funded by the C. P. Snow Memorial Fund and the Andrew W. Mellon Foundation Research Fellowship Endowment.
The Ransom Center is now receiving applications for its 2011–2012 research fellowships in the humanities. The application deadline is February 1, 2011, but applicants are encouraged, if necessary, to request information from curators by January 1. About 50 fellowships are awarded annually by the Ransom Center to support scholarly research projects in all areas of the humanities. Applicants must demonstrate the need for substantial on-site use of the Center’s collections.
The Harry Ransom Center commemorated the opening of the David Foster Wallace archive with readings of Wallace’s work by writers and actors on September 14, 2010. Readers Wayne Alan Brenner, Elizabeth Crane, L. B. Deyo, Doug Dorst, Owen Egerton, Chris Gibson, Kurt Hildebrand, Shannon McCormick, and Jake Silverstein shared selections of Wallace’s fiction, essays, and correspondence. Wallace’s archive is housed at the Ransom Center. The program was co-sponsored by American Short Fiction and Salvage Vanguard Theater.
Roy Flukinger, Senior Research Curator of Photography at the Ransom Center and author of The Gernsheim Collection, discusses the lives of Helmut and Alison Gernsheim and the historical photography collection they amassed and later sold to the Ransom Center in 1963.
Listen to audio clips of Flukinger discussing the hunt for the first photograph, how the Gernsheims began collecting, and the negotiations that led to the sale of their collection.
Drawn from the peerless collection of Helmut and Alison Gernsheim, the exhibition features masterpieces from photography’s first 150 years, alongside other images that, while lesser known, are integral to the medium’s history. Highlights include the first photograph (on permanent display at the Ransom Center); works by nineteenth-century masters such as Lewis Carroll, Julia Margaret Cameron, and Henry Peach Robinson; and iconic images by modern photographers such as Man Ray, Edward Weston, Robert Capa, and Henri Cartier-Bresson.
The Harry Ransom Center will celebrate the opening of the exhibition with “A Picture Perfect Evening” on Friday, September 10th from 6 to 8 p.m. The event is free for Ransom Center members or $20 for non-members. Tickets can be purchased in advance on the website or at the door. The event will feature exhibition tours, refreshments, a photo booth, and make-and-take photo keepsakes with The Wondercraft.
The Alamo Drafthouse Cinema will be screening a restored version of The Red Shoes (1948) on Thursday, August 5. Through August 1, visitors to the Making Movies exhibition can view Hein Heckroth’s storyboards for The Red Shoes and a “picture script” from the movie.
Hein Heckroth was a Surrealist painter and set designer who lived and worked in Germany in the years after World War I. Building on the then-radical theories of Edward Gordon Craig and Adolphe Appia, he earned an international reputation working with the Kurt Jooss dance company creating avant-garde sets and costumes for their productions.
In 1933, Heckroth left Germany when he was blacklisted by the Nazis for refusing to leave his Jewish wife, the artist Ada Maier. They moved to England where Heckroth designed operas for Kurt Weill, Carl Ebert, and others, and continued working with the Jooss dance company, which had also moved to England. In 1943, production designer Vincent Korda saw Heckroth’s design work in a stage production of War and Peace and hired him to work on Gabriel Pascal’s film Caesar and Cleopatra (1945). Soon he was recruited by Alfred Junge, the head designer for The Archers, the production unit founded by Michael Powell and Emeric Pressburger. There he designed costumes for A Matter of Life and Death (1947)and Black Narcissus (1949).
Given his experience with avant-garde theater and designing for dance, he was the natural choice for production designer for The Red Shoes. Powell and Pressburger gave him enormous freedom to experiment, and he created beautiful surreal sets and costumes with materials such as chiffon, gauze, and cellophane. His stunning designs for The Red Shoes won him an Oscar for color art direction in 1948.
These two designs and the “picture script” for the dance sequence in The Red Shoes come from the collection of Heckroth’s colleague Edward Carrick, another important production designer in England at the time.
Please click on the thumbnails below to view full-size images.
A recent project to reorganize some materials in the papers of British author Compton Mackenzie (1883–1972) brought to light specimens of traditional Nepalese handmade paper serving in a most prosaic capacity.
During the late 1920s and early 1930s, Mackenzie travelled widely and at one point was contacted while in the remote Himalayan kingdom of Nepal by a London publisher. The message from London arrived via New Delhi, India, in the form of a telegram and asked if Mackenzie would consider a “biography of Churchill” upon completion of his present commitment. Unless the biography sought was to be a brief piece for a newspaper or periodical, it would appear it was never written by Mackenzie.
So, in a sense, the telegram was just one more of those numberless pieces of paper that the active life of a published author produces, and a creative dead end at that. But this telegram was very different from most others in that it was written out on paper unlike any I have ever seen.
The form was printed in Devanagari script on two sheets and was accompanied by three more unused blanks. The paper is called lokta and is prepared by hand from fibers obtained from the bark of the Nepalese lokta tree (Daphne cannabina). While lokta paper manufacture requires much the same general techniques as traditional Western handmade paper, the present specimens exhibit a faint but uniform criss-cross design when held up to the light rather than the distinct chain-and-wire lines of their Western equivalents. The finished product is said to be durable and resistant to insect damage.
The sheets in the Mackenzie papers are remarkable for their texture and appearance, exhibiting bits of bark and small twigs worked into the fabric of the paper, dramatic whorls of lokta fiber here and there, and even occasional voids in the paper’s surface. The paper is a mottled pale tan in color and more nearly translucent than opaque. It seems to have been lightly treated during manufacture with sizing, so has a feel more like cloth than traditional paper. The effect is at once one of extreme primitiveness of technique, and yet, at the same time, one of remarkable beauty.
A web search provided several brief histories of lokta paper, which indicate that it was employed by the Nepalese government until the 1950s for its official correspondence and that it continues to find a role there in the preparation of certain classes of documents. Use of the paper is on the decline in Nepal as it is being displaced by conventional machine-made papers, but there is a substantial international market for it among those attracted by its remarkable texture and appearance.
Please click on the thumbnails below to view full-size images.