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Photo Friday

By Kelsey McKinney

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.

Exhibition Services staff members remove the ‘Greenwich Village Bookshop Door: A Portal to Bohemia’ display banner after the close of the exhibition.  Photo by Kelsey McKinney.
Exhibition Services staff members remove the ‘Greenwich Village Bookshop Door: A Portal to Bohemia’ display banner after the close of the exhibition. Photo by Kelsey McKinney.
Preparator Wyndell Faulk and Chief Preparator John Wright carefully remove from display Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. Photo by Pete Smith.
Preparator Wyndell Faulk and Chief Preparator John Wright carefully remove from display Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. Photo by Pete Smith.
The Graduate School at The University of Texas at Austin interviewed University President William Powers Jr. at the Ransom Center about the school’s Powers Graduate Fellowship Program. Photo by Alicia Dietrich.
The Graduate School at The University of Texas at Austin interviewed University President William Powers Jr. at the Ransom Center about the school’s Powers Graduate Fellowship Program. Photo by Alicia Dietrich.

Ransom Center Receiving Applications for Research Fellowships in the Humanities

By Jennifer Tisdale

Tsukioka Yoshitoshi, Moon on a Hazy Night, ca. 1887, color woodcut, Thomas Cranfill collection; Claude Bragdon, plate 30 from A Primer of Higher Space, 1939; Sir Edward Charles Blount and Gertrude Frances Jerningham Blount, Children motif, ca. 1870, collage of albumen prints, watercolor, pen & pencil in unpublished album, Gernsheim collection; Charlotte Brontë, manuscript of 'The Green Dwarf,' 1833, Brontë Family collection; Southeast Asian white parabaik (accordion book), Eastern Manuscripts collection.
Tsukioka Yoshitoshi, Moon on a Hazy Night, ca. 1887, color woodcut, Thomas Cranfill collection; Claude Bragdon, plate 30 from A Primer of Higher Space, 1939; Sir Edward Charles Blount and Gertrude Frances Jerningham Blount, Children motif, ca. 1870, collage of albumen prints, watercolor, pen & pencil in unpublished album, Gernsheim collection; Charlotte Brontë, manuscript of 'The Green Dwarf,' 1833, Brontë Family collection; Southeast Asian white parabaik (accordion book), Eastern Manuscripts collection.

The Ransom Center is now receiving applications for its 2012-2013 research fellowships in the humanities. More than 50 fellowships are awarded annually by the Center to support research projects in all areas of the humanities.

All applicants must demonstrate the need for substantial on-site use of the Center’s collections and, with the exception of those applying for dissertation fellowships, must be post-doctorates or independent scholars with a substantial record of publication.

Information about the fellowships and application process can be found online.

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 American Society for Eighteenth-Century Studies, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.

In the Galleries: "Love and Relationships"

By Christine Lee

Photo by Anthony Maddaloni.
Photo by Anthony Maddaloni.

In one of Tennessee Williams’s early writings in which he interviews himself, he identifies his audience as “the wild at heart kept in cages.” He also notes that the play Battle of Angels is a prayer for “more tolerance and respect for the wild and lyric impulses that the human heart feels and so often is forced to repress in order to avoid social censure and worse.”

The human heart and its freedom becomes a theme in both of the current exhibitions, whether about the personal life and work of Tennessee Williams, as seen in Becoming Tennessee Williams, or in the characters and novels featured in Culture Unbound: Collecting in the Twenty-First Century.

Williams’s draft of The Glass Menagerie, when it was still titled The Gentleman Caller, represents Williams’s personal and professional life. You see him working through what will become his iconic play, but you also see doodles and a dedication to his grandma Rose, who “perforated the lid of my own particular cubicle, thus preventing suffocation and allowing me to continue certain activities inside.” Another important Rose in his life was his sister, whose correspondence to her brother demonstrates their close bond. She writes: “The memory of your gentle, sleepy, sick body and face are such a comfort to me… if I die you will know that I miss you 24 hours a day.”

A more tempestuous relationship is brought to a close in an elegantly written letter from Williams to former lover Pancho Rodriguez. Williams writes: “One thing for which I don’t pity myself is the two years we spent together… You were you, wild, wonderful, a poem.” He caringly instructs Rodriguez to “keep faith with all the beautiful things in your heart… Walk tall, walk proud through this world.”

The exhibition demonstrates how film adaptations modified relationships in Williams’s written work. In Sweet Bird of Youth, the ending was changed to achieve a happy Hollywood resolution, and in A Streetcar Named Desire, the dialog about Blanche’s first love was heavily revised to appease the censors.

Culture Unbound: Collecting in the Twenty-First Century reiterates the topic of love and relationships, specifically in writings by Tim O’Brien, Don DeLillo, and James Salter. In Tim O’Brien’s typescript from The Things They Carried for the chapter “Stockings,” love supersedes borders and war zones. Henry Dobbins uses his girlfriend’s pantyhose as a talisman, and we see O’Brien crafting the passage, crossing through lines and adding a large handwritten section of notes. The story ends with the girlfriend breaking up with Henry, but the power of the remembered love keeps him, and his fellow soldiers, going.

A strong marriage bond connects Jack Gladney and his current wife Babette in Don DeLillo’s White Noise. Gladney muses: “Sometimes I think our love is inexperienced. The question of dying becomes a wise reminder. It cures us of our innocence of the future. Simple things are doomed, or is that a superstition?” He continues: “Babette and I tell each other everything… turned our lives for each other’s thoughtful regard, turned them in the moonlight in our pale hands, spoken deep into the night… In these night recitations we create a space between things as we felt them at the time and as we speak them now.” DeLillo’s handwritten notes for the novel are featured in the exhibition.

James Salter’s novel The Light Years charts the trajectory of another marriage. At the start, the husband, Viri, “wants to enter the aura surrounding her [his wife], to be accepted… [but] soon after they were married, perhaps an hour after… the desperate, unbearable affection vanished, and in its place was a young woman of twenty condemned to live with him… the mistake she knew she would have to make was made at last… She had accepted the limitations of her life.” Later in the novel Nedra explains how impossible it is to live with her husband and summarizes it as “what turns you to powder, being ground between what you can’t do and what you must do. You just turn to dust.” The novel portrays what happens when one’s heart’s passion is not pursued, as Williams seems to warn against in his “prayer for the wild at heart kept in cages.”

The exhibitions are rich with original materials that give glimpses into human emotion, fictional and personal. Becoming Tennessee Williams and Culture Unbound: Collecting in the Twenty-First Century are on view through July 31, 2011.

Frida Kahlo self-portrait returns to the Ransom Center in time for Kahlo's 104th birthday

By Alicia Dietrich

Exhibition Conservator and Head of Exhibition Services Ken Grant and Preparator Wyndell Faulk inspect Frida Kahlo's 'Self-portrait with Thorn Necklace and Hummingbird' in 2009.
Exhibition Conservator and Head of Exhibition Services Ken Grant and Preparator Wyndell Faulk inspect Frida Kahlo's 'Self-portrait with Thorn Necklace and Hummingbird' in 2009.

Mexican artist Frida Kahlo’s Self–portrait with Thorn Necklace and Hummingbird (1940) has returned to the Ransom Center and is on display in the lobby beginning today, which is Kahlo’s 104th birthday, and runs through January 8, 2012. The painting, one of the Ransom Center’s most famous and frequently borrowed art works, has been on almost continuous loan since 1990. During that time, the painting has been featured in exhibitions in more than 25 museums in the United States and around the world.

The painting was most recently on loan as part of a Kahlo retrospective tour with stops at the Martin-Gropius-Bau in Berlin, Germany; the Kunstforum Wien in Vienna, Austria; and the Museo Thyssen-Bornemisza in Madrid, Spain. View a map of where the painting has travelled in the past 20 years.

The painting returned to the Ransom Center briefly in 2009 and went on display for several months in the lobby. Watch a video documenting the painting’s return, unpacking, and conservation assessment.