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Photographer Elliott Erwitt to discuss his life and work

By Jennifer Tisdale

As part of the Harry Ransom Lectures, legendary Magnum photographer Elliott Erwitt discusses his life and work tomorrow evening at 7 p.m. CST in Jessen Auditorium at The University of Texas at Austin. The program will be webcast live.

Steve Hoelscher, Chair of the Department of American Studies at The University of Texas at Austin, shares his thoughts on the work and career of Erwitt:

CUBA. Havana. 1964. © Elliott Erwitt/MAGNUM PHOTOS.
CUBA. Havana. 1964. © Elliott Erwitt/MAGNUM PHOTOS.

Few photographers have had a greater impact on American visual culture than Elliott Erwitt. Even if you’ve never heard the name Elliott Erwitt, you’ve seen his pictures. Some are icons of photojournalism: Richard Nixon burying his finger in Nikita Khrushchev’s chest during their so-called Moscow “kitchen debate” in 1959; Jacqueline Kennedy, veiled and in distress at the funeral of her husband in 1963; the black man drinking out of a segregated water fountain, which became a symbol of racial injustices of the Jim Crow South. Likewise, his portraits of celebrities like Grace Kelley, Che Guevara, Marilyn Monroe, and Jack Kerouac have achieved notoriety, but so too have his photographs of everyday life: a couple reflected in the side mirror of a car when they are cuddling; a young mother and her newborn daughter gazing affectionately at each other, much to the approval of a nearby cat. In these and in so many of his photographs, and with a keen sense of observation and finely honed wit, Elliott Erwitt illuminates the small moments of life, even when covering major news events. This is how he describes his craft: “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place. I’ve found it has little to do with the things you see and everything to do with the way you see them.”

Jackie Kennedy, Arlington, Virginia, 1963. © Elliott Erwitt/MAGNUM PHOTOS.
Jackie Kennedy, Arlington, Virginia, 1963. © Elliott Erwitt/MAGNUM PHOTOS.

We got our postcards today…

By David Coleman

Last month, the Ransom Center participated in and helped to sponsor an experimental documentary project from Magnum Photos called “Postcards From America.” The trip has now finished, topped off by a pop-up exhibition and reception at the Starline Social Club in Oakland. The show was terrific, and images from the trip, printed in a range of sizes, were taped up in groupings around the room. None of the images had credits, which forced everyone to really look at them. There were also two very long tables onto which were piled huge assortments of 4×6-inch prints from the trip, also presented anonymously. The prints had been made at a local drugstore, reminding us all that photographs are first and foremost acts of communication, meant for the widest possible audience. People spontaneously started grouping these images together into small sets, curating on the fly. Often, these images were combined with narrative texts from Ginger Strand, the writer traveling with the Magnum photographers.

This message was reinforced, just yesterday, when we received in the mail a set of signed postcards the photographers produced while on the road, one from each photographer. A thoughtful post on the “Postcards From America” blog by Strand sums it all up:

For the last several days, postcards have been rolling off Uncle Jackson’s two printers. There’s a lot of perfectionism around the postcards—choosing the right images, getting the colors correct—but in the end, it’s a naturally imperfect form. Whoever drops the postcards into the mail slot—whoever delivers them into the chutes and sorting machines and conveyor belts and plastic tubs and mail sacks and entirely human fingers of the United States Postal Service—that person is going to have to take a deep breath.

 

But that’s what a road trip is all about: the creative tension between the perfect, polished, product and the nature of the road: the fleeting glimpse, the passing landscape, the too-short message on a too-small card: look, this is what I saw.

 

Please click the thumbnails to view full-size images.

 

View photos from “Postcards From America” event

By David Coleman

On Friday, May 13, the Ransom Center helped to launch Magnum Photos’s road trip Postcards from America project.  The events began with an open bus where photography fans could meet and talk with Magnum photographers Jim Goldberg, Susan Meiselas, Paolo Pellegrin, Alec Soth, Mikhael Subotzky, and writer Ginger Strand at their R.V., which the Postcards group parked right on the plaza.  (As you can see in the slideshow, getting it there was a bit dicey!)

After that was the main event: a public talk by the photographers and writer discussing the origins and plans for the project.  Although their journey had only just begun the day before in San Antonio, each photographer presented some amazing images from just one day’s work.  You can see many of these images on the Postcards From America blog.

The Ransom Center was excited to participate in this new project, an outgrowth of our parnership with Magnum Photos and MSD Capital, LP to house 200,000 press prints from Magnum Photos’s New York bureau.

I encourage you to follow the photographers on their blog and through the Blurb Mobile app.  Do it soon because they are more than halfway through their trip, which ends in Oakland with an exhibition from their journey at the Starline Social Club on May 26.

 

Please click the thumbnail to view full-size images.

 

Ransom Center helps to launch Magnum Photos's “Postcards From America” tomorrow

By David Coleman

Image courtesy of Magnum Photos.
Image courtesy of Magnum Photos.

“5 photographers, a writer, 2 weeks, a bus.” Thus begins a unique documentary project comprised of Magnum photographers Jim Goldberg, Susan Meiselas, Paolo Pellegrin, Alec Soth, Mikhael Subotzky, and writer Ginger Strand, who will be traveling from San Antonio to Oakland from May 12 to May 26 on the first of a series of trips across the country.

They’ve been blogging about it since the end of March, so there’s already plenty to see and read. You can follow them on various social media sites, and you can even post your own images at the “Postcards From America” Flickr site. At the end they will be mounting a special exhibition of images from the trip at the Starline in Oakland, and they promise to include some of the follower-contributed Flickr images as well.

The idea was born at a retreat where Magnum photographers talked about, of all things, photography. It’s exactly the type of independent project that was behind Magnum’s founding by Robert Capa, Henri Cartier-Bresson, David Seymour, and George Roger in 1947. Established to preserve the copyright of their work, the Magnum cooperative agency thus secured perpetual revenue from the photographers’ imagery. This watershed moment in photojournalism thereby allowed the photographers to break free from the news cycle and pursue more in-depth and independent projects like “Postcards From America.”

The Ransom Center is excited to participate in this unique documentary event, which comes as an outgrowth of our relationship with Magnum Photos.  In 2010 the Ransom Center joined in partnership with Magnum Photos and MSD Capital, LP to house some 200,000 original press prints from Magnum’s New York bureau. The Ransom Center has since created a preliminary inventory and opened the collection to students, faculty, and the general public. We continue to work with Magnum, including the Magnum Foundation, to add further research value to the collection.

The events on Friday, May 13, begin with a chance to informally meet and talk with the photographers between 5 p.m. and 6 p.m. at their R.V., which will be parked on the north end of the Ransom Center plaza. This will be followed by a public discussion among the “Postcards” participants about photography and ways to picture America, held at 7 p.m. C.S.T. at Jessen Auditorium, Homer Rainey Hall, across the plaza from the Ransom Center. The program will be webcast live.

I hope you can join us.

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Students in Department of Theatre and Dance Professor Susan Zeder’s 'Playwriting' course visit the Ransom Center’s exhibition 'Becoming Tennessee Williams.' Photo by Anthony Maddaloni.
Students in Department of Theatre and Dance Professor Susan Zeder’s 'Playwriting' course visit the Ransom Center’s exhibition 'Becoming Tennessee Williams.' Photo by Anthony Maddaloni.
Students in Department of Theatre and Dance Professor Susan Zeder’s 'Playwriting' course visit the Ransom Center’s exhibition 'Becoming Tennessee Williams.' Photo by Anthony Maddaloni.
Students in Department of Theatre and Dance Professor Susan Zeder’s 'Playwriting' course visit the Ransom Center’s exhibition 'Becoming Tennessee Williams.' Photo by Anthony Maddaloni.
Eli Reed, Magnum photographer and Professor of Photojournalism at The University of Texas at Austin, spoke about a selection of his work to the Ransom Center’s Friends of Photography. Photo by Anthony Maddaloni.
Eli Reed, Magnum photographer and Professor of Photojournalism at The University of Texas at Austin, spoke about a selection of his work to the Ransom Center’s Friends of Photography. Photo by Anthony Maddaloni.
Students in Professors Robert Abzug and Steven Hoelscher’s graduate seminar 'Photography in American Culture' view materials from the Ransom Center’s photography collections, including photos from the Arnold Newman archive. Photo by Anthony Maddaloni.
Students in Professors Robert Abzug and Steven Hoelscher’s graduate seminar 'Photography in American Culture' view materials from the Ransom Center’s photography collections, including photos from the Arnold Newman archive. Photo by Anthony Maddaloni.

Digital collection highlights photos taken in Corpus Christi during Great Depression

By Courtney Reed

The Ransom Center has made available online the digital collection “The Itinerant Photographer: Photographs of Corpus Christi Businesses in the 1930s.”

The collection highlights photographs taken of businesses in Corpus Christi during the Great Depression. The project to make these materials accessible online was funded by a TexTreasures grant from the U.S. Institute of Museum and Library Services to the Texas State Library and Archives Commission under the provisions of the Library Services and Technology Act.

Until now, access to the collection was limited, due to the fragility of the collection material and its uncataloged status. The Center has now constructed a Web site as a portal to the itinerant photographer collection. It is an introduction to the collection and its imagery, and a searchable gallery of the 473 glass plate negatives provides a comprehensive exhibition of this physically fragile collection. All the imagery on this Web site was produced from the glass plate negatives. An online finding aid of the collection has been created as well.

In early 1934, a traveling photographer arrived in Corpus Christi, Texas, searching for businesses that would pay him to take pictures of their establishments. Part photographer, part salesman, he went door to door offering his services. He left town after only a few weeks and abandoned his glass plate negatives with a local photographer because they no longer had any commercial value to him.

The images portray a wide range of businesses operating in Corpus Christi, which was relatively prosperous in the midst of the Great Depression, including those in the agricultural industry, retail and wholesale businesses, city and county government offices, manufacturing businesses, and those offering numerous types of services.

Please click on the thumbnails below to view full-size images.

 

 

 

 

 

 

Plate painted by Pablo Picasso donated to Ransom Center by photojournalist Duncan

By Jennifer Tisdale

The Ransom Center has received a plate painted by Pablo Picasso from David Douglas Duncan, a photojournalist whose archive resides at the Ransom Center.

Duncan donated the plate in honor of his friendship with Stanley Marcus, who suggested that Duncan donate his archive to the Ransom Center in 1996. The archive includes more than 36,000 prints, 87,000 negatives, and 21,000 transparencies, in addition to correspondence, manuscripts, camera equipment, artwork, and personal effects.

Picasso painted the plate, a piece of commercial dinnerware, at his home Villa La Californie in Cannes, France, on April 19, 1957. Dedicated to Duncan’s dog Lump, a dachshund, the plate is 24 centimeters in diameter and contains a portrait of Lump.

Beginning Tuesday, February 1, the plate will be on view in the Ransom Center’s exhibition Culture Unbound: Collecting in the Twenty-First Century, running through July 31.

Comparable painted plates by Picasso have sold at auction for amounts ranging from $20,000 to $90,000.

Through the encouragement of photojournalist Robert Capa, Duncan met Picasso on Feb. 8, 1956, when he visited the artist in the south of France. Upon his arrival, Jacqueline Roque, Picasso’s companion at the time, led Duncan up to the bathroom where Picasso was in the bath. Duncan presented Picasso a ring he made for the occasion, and a bond was formed between the two men.

Upon Duncan’s departure, Picasso waved goodbye and said, “This is your home—come back!”

In April 1957, Duncan returned to La Californie, bringing Lump with him, and began extensively photographing Picasso, his home and his family in their daily lives. Duncan wrote about Lump’s visit stating, “[a]fter his first exploratory survey of Villa La Californie, it was ‘Adios, Rome!’ and from that moment on Lump became a permanent resident at Picasso’s home.”

While eating lunch one day, Picasso asked Duncan if Lump had ever had a plate of his own. Duncan responded no. At that point, Picasso picked up his lunch plate, and with brush and paint that were at the table, began painting a simple, yet detailed, portrait of Lump. The plate was inscribed to Lump, signed and dated by Picasso, then handed to Duncan.

Reflecting on that moment, Duncan wrote that “[t]hat ceramic souvenir was symbolic of Picasso’s lifelong spontaneous generosity.”
Duncan captured this friendship and Lump’s legacy in Picasso’s works in his book Picasso & Lump: A Dachshund’s Odyssey (2006).

Duncan authored additional books on Picasso, including The Private World of Pablo Picasso (1958), Picasso’s Picassos (1961), Goodbye Picasso (1974), The Silent Studio (1976), Viva Picasso (1980), Picasso and Jacqueline (1988) and Picasso Paints a Portrait (1996).

 

Please click the thumbnails below to view full-size images.

 

National Gallery of Art’s symposium 'Truth to Nature: British Photography and Pre-Raphaelitism'

By Jennifer Tisdale

Henry Peach Robinson, 'The Lady of Shalott,' 1861.
Henry Peach Robinson, 'The Lady of Shalott,' 1861.

Ransom Center Curator of Photography David Coleman participates in the National Gallery of Art’s symposium “Truth to Nature: British Photography and Pre-Raphaelitism” in Washington, D.C., on Saturday, January 22.

Coleman presents “Matters of Fact and Pleasant Fictions: Henry Peach Robinson and Victorian Composition Photography,” elaborating on Robinson’s relationship with Pre-Raphaelite painting.

The Ransom Center loaned 14 items from its photography collection to the National Gallery of Art for the exhibition The Pre-Raphaelite Lens: British Photography and Painting, 1848-1875, on view through January 30. Beginning March 6, the exhibition opens at the Musée d’Orsay, Paris as A Ballad of Love and Death: Pre-Raphaelite Photography in Great Britain, 1848-1875. Running through May 29, this exhibition also showcases the Ransom Center’s loaned photographs.

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Cameras on display in the exhibition ‘Discovering the Language of Photography: The Gernsheim Collection.’  Shown here are cameras ranging in date from 1886 to 1925, including the first Kodak camera and a circular nineteenth-century detective camera that was used while being concealed under a jacket or vest. Photo by Anthony Maddaloni.
Cameras on display in the exhibition ‘Discovering the Language of Photography: The Gernsheim Collection.’ Shown here are cameras ranging in date from 1886 to 1925, including the first Kodak camera and a circular nineteenth-century detective camera that was used while being concealed under a jacket or vest. Photo by Anthony Maddaloni.
Currently on display, this portable folding camera obscura, ca. 1750, can be disassembled and stored in the box that serves as its base. The periscope, which comes with separate lenses for distant and near subjects, contains a mirror that reflects the light at a 45-degree angle onto the floor of the base. This projected image may be viewed through a large aperture on the side, and an artist could reach inside through a cloth sleeve to trace the projected image onto a sheet of paper. Photo by Anthony Maddaloni.
Currently on display, this portable folding camera obscura, ca. 1750, can be disassembled and stored in the box that serves as its base. The periscope, which comes with separate lenses for distant and near subjects, contains a mirror that reflects the light at a 45-degree angle onto the floor of the base. This projected image may be viewed through a large aperture on the side, and an artist could reach inside through a cloth sleeve to trace the projected image onto a sheet of paper. Photo by Anthony Maddaloni.
Hal Erickson, a University of Utah Health Sciences Center researcher, visited the Ransom Center to apply nondestructive forensic techniques for recovering faded, erased, redacted, obscured or otherwise lost content.  Here, Erickson is photographing a passage that was redacted, and then further obscured with adhered paper bearing replacement text, by Thomas Hammond in a manuscript volume of his ‘Memoirs.’  Photo by Anthony Maddaloni.
Hal Erickson, a University of Utah Health Sciences Center researcher, visited the Ransom Center to apply nondestructive forensic techniques for recovering faded, erased, redacted, obscured or otherwise lost content. Here, Erickson is photographing a passage that was redacted, and then further obscured with adhered paper bearing replacement text, by Thomas Hammond in a manuscript volume of his ‘Memoirs.’ Photo by Anthony Maddaloni.