This October, Jayne Anne Phillips has released her newest novel, Quiet Dell. Described by Stephen King as “a compulsively readable story,” the novel is based on the true and mysterious murder of a widow and her children living in Quiet Dell, West Virginia.
Phillips, whose archive resides at the Ransom Center, is the author of six novels and short story collections and the recipient of literary prizes including a Guggenheim fellowship and two National Endowment for the Arts fellowships. Her novel Lark and Termite was a finalist for the 2009 National Book Award.
On October 15, a selection of books and artworks associated with artist James Turrell will go on view in the Ransom Center’s third-floor Director’s Gallery. Included in the display is Deep Sky, a suite of seven aquatints that Turrell executed with printer Peter Kneubühler, and that were published by Peter Blum Edition in 1985. The Ransom Center’s edition of Deep Sky is one of several portfolios in the Peter Blum Edition art collection, which showcases Blum’s collaborations with contemporary artists such as John Baldessari, Eric Fischl, and the collective General Idea.
Like many of the artists with whom Blum has worked, Turrell is not best known for his works on paper. Throughout his career, which has spanned half a century, Turrell has made a name for himself constructing spectacular installations that focus on light and space—or more specifically, the way the eye perceives different types of light in different spaces. This past summer, three major U.S. museums mounted simultaneous retrospectives of Turrell’s work, which includes illusionistic light projections and fully immersive spaces that bathe the viewer in colored light. For nearly 35 years, he has been working to transform Roden Crater, an extinct volcano in northern Arizona, into a series of rooms and tunnels that open onto vistas of the desert sky.
In addition to Roden Crater, Turrell has executed scores of site-specific installations all over the world. On The University of Texas at Austin campus, he recently completed a Skyspace entitled The Color Inside, which will open to the public on October 19 as part of the University’s Landmarks program. The work, like all of Turrell’s Skyspaces, is architectural—a structure built with its location in mind—and it is intended to facilitate a specific viewing experience of the sky above. At sunrise and sunset, a carefully programmed sequence of colored LED lights causes the eye to perceive the shifting colors of the sky as a series of dramatically different hues. Emerging from a Skyspace light sequence, a viewer is often more attuned to the surrounding environment—as if the mind, used to believing that the sky is blue without ever taking notice of its true color, has been recalibrated.
For an artist so invested in utilizing light and color as the materials of his art, it is somewhat surprising that the prints in Deep Sky are absent of color. The seven aquatints are meticulously printed, with velvety swaths of black ink and subtle variations of grey. But these prints, which represent seven views of Roden Crater, are explorations of space and scale and how they factor into one’s perception. The prints serve as experimental renderings; they are nearly abstract pictures of how a viewer might apprehend space at Roden Crater.
The catalog published to accompany Turrell’s recent retrospectives includes the artist’s description of a visit to a garden in Japan:
I noticed a small, low, triangular window, which provided another view of the garden. The view opening onto the same part of the garden as a larger window above, except the view was scaled down. The small rocks appeared as mountains, blades of grass became wooded hillsides and the bonsai looked like large trees. The microcosm had become a macrocosm, which perfectly echoed the motifs and forms of the larger view. I then realized that the garden should be viewed from numerous vantage points.
The Deep Sky prints are just a few examples of the numerous vantage points that Turrell has explored in his work with Roden Crater. Ultimately, there is no way to view the site all at once, but in the microcosms represented in these superbly printed aquatints, one can at least begin to understand the completeness of Turrell’s vision.
James Turrell: Deep Sky will be on view in the Director’s Gallery, on the third floor of the Ransom Center, until December 13. The Director’s Gallery is open from 9 a.m. to 5 p.m. Monday through Friday.
The Harry Ransom Center is raising $50,000 in 75 days for the Center’s 2014 exhibition The Making of Gone With The Wind. This Hollywood classic premiered in 1939 and will mark its 75th anniversary in 2014.
Film producer David O. Selznick’s 1939 epic film Gone With The Wind was embroiled in controversy before a single frame was shot. Based on the 1936 novel by Margaret Mitchell, the film’s depictions of race, violence, and cultural identity in the South during the U.S. Civil War and Reconstruction continue to both compel and trouble audiences around the world.
The exhibition will reveal surprising new stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released.
The exhibition will include over 300 original items from the Selznick archive housed at the Ransom Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. These recently conserved costumes will be displayed together for the first time in more than 25 years.
Your support will provide funds for outreach, additional docent-led tours, a published exhibition catalog, and complementary programming and presentations. Donors will be acknowledged on the Ransom Center’s website and receive the following:
$10-$499: Commemorative save-the-date postcard with an image from the Ransom Center’s collection.
$500-$999: Complimentary Ransom Center membership for one year, at the dual level, which includes two tickets to the exhibition opening party.
$1,000-$4,999: Complimentary copy of the exhibition catalog.
$5,000+: Special curators’ tour for up to six people.
The Magnum Photos collection, which contains nearly 200,000 press prints of images taken by world-renowned Magnum photographers, has been donated to the Ransom Center. The gift was made by Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.
Mr. Dell is Founder, Chairman and CEO of Dell Inc. Messrs. Fuhrman and Phelan are Co-Managing Partners and Co-Founders of MSD Capital, L.P., the private investment firm for Mr. Dell and his family.
In 2009, the Dells, Fuhrmans and Phelans purchased the collection from Magnum Photos. Since late 2009, the collection has resided at the Ransom Center, where it is being preserved and made accessible for research.
The collection, more than 1,300 boxes of photographic materials, has been integrated into the university’s curriculum, accessed by students and scholars, and promoted through a variety of lectures, seminars, and fellowships.
“The establishment of the Magnum Photos collection at the Ransom Center gives the work of these photographers new life,” said Stephen Enniss, director of the Ransom Center. “This photographic collection will be an invaluable resource, for decades to come, for students and scholars and all who wish to understand the cultural and historical moment through which we have recently come.”
The Ransom Center’s current exhibition, Radical Transformation: Magnum Photos into the Digital Age, draws from the vast collection of prints, exploring the evolution of the photo agency from the post-war golden era of the picture magazine to the digital age. Organized by Ransom Center photography curators Jessica S. McDonald and Roy Flukinger, the exhibition includes more than 300 photographs, plus a selection of contact sheets, documents, tear sheets, magazines, books, films, videos, and other multimedia. It is on view through January 5.
Complementing the exhibition is the Ransom Center’s symposium “Magnum Photos into the Digital Age.” The October 25–27 symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding. Symposium participants include Magnum photographers Christopher Anderson, Bruno Barbey, Michael Christopher Brown, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alessandra Sanguinetti, Alec Soth, and Chris Steele-Perkins.
Reading Magnum: A Visual Archive of the Modern World is the first publication to examine the Magnum Photos collection itself. Published by University of Texas Press in September and edited by Steven Hoelscher, academic curator of photography at the Ransom Center, the book explores prominent themes in the collection—war and conflict, portraiture, geography, cultural life, social relations, and globalization—and includes evocative portfolios of images.
Author Jim Crace, whose archive resides at the Ransom Center, has been shortlisted for the 2013 Man Booker Prize for Fiction for his novel Harvest (Nan A. Talese/Picador).
Crace was previously shortlisted for the Booker Prize for his 1997 novel Quarantine. The winner of the Booker will be announced at a ceremony in London on Ocober 15.
To celebrate this news, Cultural Compass will be giving away a signed copy of Crace’s novel The Pesthouse. To be eligible to win, tweet a link to this blog post and mention @ransomcenter. If you’re not on Twitter, send an email to email@example.com with “Booker Prize” in the subject line. All tweets and emails must be sent by midnight CST tonight, and winners will be drawn and notified tomorrow, September 12. [Update: The giveaway is now closed. A winner has been selected and notified.]
Magnum Photos photographers have produced some of the most memorable images of the last century, shaping history and revolutionizing photography’s influence on modern culture. Founded in 1947, it was the first cooperative agency to be established and operated by photographers, thus ensuring unprecedented creative, editorial, and economic independence.
Its founders, including renowned photographers Robert Capa, Henri Cartier-Bresson, David “Chim” Seymour, and George Rodger, united in their pursuit of creative freedom and their commitment to sharing their images with the world. Membership in this collective empowered photographers to document conflict and liberation, revolution and reform, while preserving their own powerfully distinct points of view.
Established during the post-war golden age of the picture magazine, Magnum has flourished despite the impact of radical technological, economic, and cultural transformations on publishing and media. When television began to take over as the dominant form of mass communication in the 1950s, Magnum photographers explored motion picture and book formats. As the editorial market continued to shrink, photographers found new audiences in museums and galleries. Over the last decade, new technologies have dramatically changed the way photographic imagery is captured, distributed, and consumed. In this new environment, Magnum photographers have kept pace, experimenting with a variety of multimedia platforms to publish their work.
Organized by Jessica S. McDonald and Roy L. Flukinger, this exhibition of approximately 300 works investigates the evolution of Magnum Photos from print photojournalism to the digital age, revealing a global cooperative in continual flux, persistently exploring new relationships between photographers, their subjects, and their viewers.
The Ransom Center presents the symposium “Magnum Photos into the Digital Age” on October 25–27. This symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding. Twelve Magnum photographers, as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear on panels with a focus on the cooperative’s evolution and future.
When University of Texas at Austin Professor of Philosophy Daniel Bonevac and Ransom Center Senior Research Curator of Photography Roy Flukinger taught the course “Ideas of the Twentieth Century” last fall, they had 100 students.
This fall, they will teach over 20,000.
“Ideas of the Twentieth Century” is one of the courses offered by The University of Texas at Austin as part of the UT System’s partnership with edX, a nonprofit online learning initiative. Launched by Harvard University and the Massachusetts Institute of Technology in 2012, edX collaborates with universities across the country to offer massive open online courses (MOOCs). MOOCs boast unlimited enrollment and are free for all participants.
Of the classes submitted by The University of Texas at Austin for the upcoming school year, four are currently open for registration and will begin September 15. Besides “Ideas of the Twentieth Century,” those interested can also take “Energy 101,” “Age of Globalization,” and “Take Your Medicine: The Impact of Drug Development.”
Bonevac and Flukinger’s course explores the changing mindsets and morals of the past century through the lenses of philosophy, literature, art, and history. Although they have taught this course five times before as one of the University’s Signature Courses for incoming freshmen, the class had to be adapted for an online audience.
“Our time is much more limited in teaching the online course, so each session had to be reduced down to the more basic concepts, trends, and ideas,” Flukinger said. “And, obviously, the other fact that you miss immediately is the interchange of ideas and discussion with your students. The production studio tends to be a much more detached environment than the customary give-and-take of the classroom. But such are always the tradeoffs with any mass media. And, at the same time, I do find it very invigorating to attempt to expand our teaching to a much larger and more diverse global community.”
The Harry Ransom Center invites applications for its 2014–2015 research fellowships in the humanities.
Information about the fellowships and the application process is available online. The deadline for applications, which must be submitted through the Ransom Center’s website, is January 31, 2014, at 5 p.m. CST.
More than 50 fellowships are awarded annually by the Ransom Center to support projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.
All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.
The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 or $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.
The stipends are funded by Ransom Center endowments and annual sponsors , including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Carl H. Pforzheimer Endowment, the Woodward and Bernstein Endowment, the Frederic D. Weinstein Memorial Fellowship in Twentieth-Century American Literature, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.
Applicants will be notified of decisions on April 1, 2014.
The 2014–2015 academic cycle will mark the 25th anniversary of the Ransom Center’s fellowship program. Since the program’s inauguration in 1990, the Center has supported the research of more than 800 scholars through fellowships.
The Harry Ransom Center has acquired the archive of acclaimed novelist, poet, and essayist Julia Alvarez (b. 1950).
Alvarez’s extensive archive consists of manuscripts, correspondence, journals, and professional files. The manuscripts span her writing career and include fiction, nonfiction, poetry, essays, and unpublished works, often in multiple drafts. Alvarez regularly sent drafts of her work to friends and colleagues, and these copies usually bear handwritten comments from the reader alongside Alvarez’s revisions.
Alvarez’s correspondence includes poems and letters from fellow writers such as Sandra Cisneros, Edwidge Danticat, Dana Gioia, and Marilyn Hacker.
Alvarez was born in New York City but raised in the Dominican Republic until she was 10. In 1960 her family was forced to flee the Dominican Republic when it was discovered that her father was involved in a plot to overthrow dictator Rafael Trujillo.
Much of Alvarez’s work is considered semi-autobiographical, drawing on her experiences as an immigrant and her bicultural identity. Alvarez’s unique experiences have shaped and infused her writing—from such award-winning novels as How the Garcia Girls Lost Their Accents and In the Time of the Butterflies to her poetry.
Alvarez’s archive will complement the university’s internationally respected resources in Latin American studies, providing a unique and enriching resource not only for literary study, but also for the study of Latin American history and government and other prominent social and cultural issues of our time.
The Alvarez materials will be accessible once processed and cataloged.
When a new archive arrives at the Ransom Center, it is quickly whisked away to a designated quarantine area in our basement. The first order of business is for staff to inspect the collection carefully—under the diligent leadership of one of our conservators—for signs of bugs or mold, or any other damage that could jeopardize our collections. These inspections are serious affairs, for it’s critical that we not introduce pests or mold into our stacks. But they’re also exciting. They are our first opportunity to dig into a new collection, and they’re often filled with unexpected discoveries.
The McSweeney’s archive arrived at the Ransom Center in excellent condition, and sorting through the contents of nearly 60 bankers-sized boxes elicited curiosity and delight among our staff. I wasn’t entirely surprised by the rich material that filled the boxes. I had my first glimpse of the archive in September 2007 in the crowded basement of the publishing house’s headquarters in the Mission District of San Francisco. The Ransom Center had first inquired about the McSweeney’s archive in late 2006. Several conversations followed, but the publishing house wasn’t ready to part with its files at the time. I had been an enthusiastic fan of the publishing house for years. I believed then, and still do, that McSweeney’s—with its taste for experimental and new talents, its innovative approach to design, and its willingness to take risks with each volume—brought a new vision to publishing and introduced something different and significant to twenty-first-century literature. The publications coming out of McSweeney’s are unlike anything you’ll find elsewhere. We were thrilled to hear from the publishers at McSweeney’s years later, when their files had grown to overtake their basement, and they wanted to find their archive a home where it would be cataloged, preserved, and made available for study.
The archive is filled with manuscript submissions, letters from authors, illuminating editorial notes, and design renderings that trace the 15-year history of this publishing house. These materials will ignite the interest of students and scholars who will study this archive in the years to come. Equally fascinating are the published volumes themselves. Each book, each issue of the Quarterly and The Believer is utterly unique. Taking them out of boxes, one by one, and seeing them all together, one is immediately struck by the legacy McSweeney’s has already left on the world of publishing.