Laurence Raw obtained a Fleur Cowles Fellowship to study at the Ransom Center in Spring 2011. He consulted the papers of British actor Donald Wolfit, which the Center acquired in the early 1990s. Comprising prompt books, stage plots, photographs, letters, diaries, and other ephemera, the Wolfit archive is the largest resource devoted to the actor anywhere. Raw is a professor of English at Baskent University, Ankara, Turkey. Read more
This holiday season, we have bundled our favorite exhibition publications together. Now you can show off your knowledge of diverse topics from industrial designer Norman Bel Geddes and the First World War to photographers Arnold Newman and Fritz Henle. Read more
Naomi Lindstrom es profesora en el Departamento de Español y Portugués, de Artes y Cultura Judía, y subdirectora del Schusterman Center for Jewish Studies en la Universidad de Texas en Austin. También es profesora al nivel graduado de literatura comparada y administradora de la página Read more
Novelist Bernard Malamud was one of the most significant Jewish American writers of the twentieth century, and this year, to honor and celebrate his life and work, The Library of America has released two collections of Malamud’s fiction: Novels and Stories of the 1940s & 50sand Novels and Stories of the 1960s. A third collection is forthcoming.
Born in Brooklyn on April 26, 1914, to Russian Jewish immigrants, Malamud earned his Master’s degree from Columbia University and taught writing at Oregon State University and Bennington College. His first novel, The Natural (1952), was adapted into a film starring Robert Redford in 1984. His fourth novel, The Fixer,won both the National Book Award and Pulitzer Prize in 1966. Malamud also published a total of six other novels and 65 short stories throughout his career.
Malamud’s archive includes correspondence, articles, essays, notebooks, manuscripts, interviews, and more.
In 1975, photographer Ted Spagna (1943–1989) began his career-defining project that would revolutionize the artistic interpretation and even scientific understanding of sleep. Using a time-lapse camera, Spagna photographed a variety of sleeping subjects for an entire night. The results, now known as “sleep portraiture,” provided a unique bird’s eye perspective of his subjects’ movements, patterns, and interactions. Today, a collection of Spagna’s photographs and papers resides at the Ransom Center.
In 2009, Ron Eldridge and Delia Bonfilio, nephew and goddaughter of Spagna, formed the Ted Spagna Project. Aspiring to “awaken his work and carry it on,” Eldridge and Bonfilio launched a variety of programs highlighting Spagna and his work, including the recently published collection of his photographs titled SLEEP.
Rizzoli Publishing describes SLEEP as “an intimate, voyeuristic exploration into the private landscape of the unconscious from the Muybridge of sleep.” The full-color coffee-table book features Spagna’s photographs of children, adults, couples, and families exposed in the private act of sleeping. With text by psychiatrist Allan Hobson and additional photographs by Mary Ellen Mark, SLEEP has revived Spagna’s project alongside current information and innovation.
Writer and filmmaker Errol Morris, winner of an Academy Award for Best Documentary Feature, an Emmy, and the Grand Jury Prize at the Sundance Festival, drew on the Ransom Center’s photography collections for his most recent book, Believing is Seeing: Observations on the Mysteries of Photography,published by Penguin in September 2011.
Morris’s interest in the mysteries of photography grew around the debate over two nearly identical Roger Fenton photographs in the Ransom Center’s collections. The photographs were taken in sequence in a place called the “Valley of the Shadow of Death” during the Crimean War.
In one photo, the road through the valley is bare and the ditches full of cannonballs. In the other, the road is scattered with cannonballs. The photographs were taken on April 23, 1855, between 3 and 5 p.m., but photography scholars debate which photograph was taken first. The discrepancy between the images inevitably leads to a question of Fenton’s involvement. In which photograph did Fenton manipulate the scene?
Morris’s interest led him to Crimea to investigate. He borrowed a cannonball, found the valley, and came to a conclusion that caused him to question whether we can, 150 years later, recover the truth of Fenton’s intentions. Morris wrote extensively about this adventure for The New York Times.
Through the “Valley of the Shadow of Death” photographs and a few others, Morris reveals how much of a photograph can be obscured by the viewer’s beliefs. A photographic detective story, Believing is Seeing is an exploration of the origins, intentions, and products of photographers.