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Undergraduate class experiences advertising hands-on with “Alice’s Adventures in Wonderland” exhibition

By Marlene Renz

Galit Marmor-Lavie is a professor at The University of Texas at Austin’s Moody College of Communication. This semester she brought students in her undergraduate Advertising and Popular Culture class, offered at the Stan Richards School of Advertising & Public Relations, to the Ransom Center’s Alice’s Adventures in Wonderland exhibition. Below, she explains the project that was inspired by the exhibition and what drew her to use the Ransom Center as a resource.

 

 

What students are in this class?

This class is an elective, undergraduate-level class. The students come from across campus; that’s what is so beautiful about this class. This may be the first encounter with communication ideas that students who study mathematics and natural science have. They are curious about the process of advertising. It’s really interesting to see how differently they examine communication messages. We have great discussions.

 

 

Why did you choose to use the Ransom Center’s exhibition?

This has not been the first time that I have taken my students to Ransom Center exhibitions. Last semester, I took a different class to The Making of Gone With the Wind. I always find that there are communication, advertising, and marketing aspects in your exhibitions. It’s really important to utilize the Center. It’s right across the street, and we should use university resources. And it’s such a beautiful world, rich with so many ideas. It’s a philosophy to get outside of the classroom and get engaged with different things. Last time I taught this class my students created posters for the South Austin Museum for Pop Culture. Then I saw this exhibition and thought that it would be a perfect match.

 

 

What project are the students undertaking?

After visiting the Alice’s Adventures in Wonderland exhibition, my students will create posters in groups that convey various messages about Alice. They need to advertise Alice’s story, but with a contemporary outlook. So I wanted to use those themes that we’ve covered in class to try to target millennials. A lot of them will change the way she looks, but it’s not just design and the external part. I’m searching for something deeper. We have a critical point of view of how advertising operates in our society and what should be done. Many times it is food for thought. How stereotypes have been portrayed in advertising – about women, about race, about love, about everything. My students can choose to comment on whatever it is they have passion for. We are so busy in our daily lives and we are so used to seeing all of these daily messages that we don’t stop for a second and see this aggregated persuasion, and I want them to learn to manifest a critical point of view of these messages. It’s a different approach, but the students are excited.

 

 

What do you hope they will learn from the project?

I want them to get hands-on experience. I want them to be the advertisers and see how hard their job is. I want them to talk to the target audience while thinking about communication aspects while understanding that advertising is an important conduit. It is about more than persuading people. The poster project is encapsulating these ideas: they learn what it means to be in advertising, they have the responsibility and the power, and they learn how to use the advertising tool in a bright, positive way. It’s a privilege for me to be able to influence the perceptions of these bright and eager students in the world of advertising. I want to teach them how to be proactive; I want them to be aware of communications, specifically advertising and for them to do it in a right way.

 

 

Do you plan on returning to the Ransom Center with future classes?

Yes. I remember I took my students to I Have Seen The Future: Norman Bel Geddes Designs America. I thought it was amazing, especially for us in advertising to see. It is helpful for students to be aware that these collections are here and to know how to ask where to find them or how to analyze them. Every semester I see what the Ransom Center is showing and see if I can make it work.

 

 

Students in Professor Marmor-Lavie’s class work throughout the semester to create posters. They tour the exhibition, brainstorm in groups, and are judged on the presentation of their messages. The Advertising and Popular Culture class is just one of the ways that the Ransom Center connects undergraduates to its vast collections.

 

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Awarded first place. Photo by Pete Smith.
Awarded first place. Photo by Pete Smith.
Awarded second place. Photo by Pete Smith.
Awarded second place. Photo by Pete Smith.
Awarded third place. Photo by Pete Smith.
Awarded third place. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Students present their posters to judges and their classmates. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Galit Marmor-Lavie lectures to her “Advertising and Popular Culture” class. Photo by Pete Smith.
Students in “Advertising and Popular Culture” class receive a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class receive a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.
Students in “Advertising and Popular Culture” class on a tour of “Alice’s Adventures in Wonderland.” Photo by Pete Smith.

Family Day at the Ransom Center

By Marlene Renz

Visit Alice’s Adventures in Wonderland on Saturday, April 25, between 10 a.m. and 5 p.m. and enjoy free activities for the young and young at heart. You can participate in writing activities with teaching artists from Austin Public Library Friends Foundation’s Badgerdog Creative Writing Program or engage with Lewis Carroll–inspired math activities with local math literacy organization Math Happens. University of Texas at Austin museum theater students will lead visitors through the galleries. Additional activities include docent-led exhibition tours and story times in the theater.  Family days are generously supported by a grant from the Austin Community Foundation, with in-kind support provided by Terra Toys.

 

Below is a detailed schedule:

 

Teaching artists from Austin Public Library Friends Foundation’s Badgerdog Creative Writing Program will lead writing activities at the top of the hour from 10 a.m. through 4 p.m.

 

Join a docent-led tour of the exhibition at noon, 2 p.m., and 4 p.m.

 

Enjoy story time in the theater at 1:15 p.m. and 3:15 p.m.

 

Follow University of Texas at Austin museum theater students through the galleries between 10 a.m. and noon.

 

Complete Lewis Carroll–inspired math activities with Math Happens as you tour the galleries.

 

 

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Before and After: “Alice’s Adventures in Wonderland” Movie Jecktors

By Heather Hamilton

The exhibition Alice’s Adventures in Wonderland features two 1933 toy paper film strips called Movie Jecktors. The film strips portray two of the most memorable parts of the Alice story: “Down the Rabbit Hole” and “The Mad Hatter.” Images and text are printed in three colors on 35″ strips of translucent paper. The strips are rolled onto wooden dowels and stored in colorfully printed little boxes. The Movie Jecktors would have been used with a toy film projector to create a simple animation.

 

The Ransom Center’s Movie Jecktors required conservation before they could be safely displayed in the galleries. Both the wooden dowel and the storage box, which is made of wood pulp cardboard, had a high acid content. An acidic environment is harmful to paper. The Movie Jecktors had become brittle and discolored, and there were many tears and losses to the paper. The film strips had been repaired in the past with pressure-sensitive tapes (the common tape we all use to wrap gifts). These tapes are never appropriate for repairing paper that we hope to preserve because they deteriorate and often darken over time and are also difficult to remove once in place.

 

As the Ransom Center’s paper conservator, I removed the tapes using a heated tool and reduced the residual adhesive using a crepe eraser. I mended the tears and filled the losses using Japanese paper and wheat starch paste. For the fills, the Japanese paper was pre-toned with acrylic paint to allow these additions to blend with the original paper. Areas of ink loss were not recreated.

 

Visitors to the exhibition can see the areas of the filmstrips that were damaged, but those areas are now stabilized and less distracting. This kind of treatment reflects the practice of conservation to preserve, but not “restore,” the object’s original appearance. Libraries, archives, and museums today often choose the conservation approach because it allows researchers and other visitors a better understanding of the object’s history, including damages that occurred, which may speak to the materials used in the object’s creation.

 

Related content:
Meet the Staff: Heather Hamilton, Head of Paper Conservation
Remarkable set of miniature Masonic theater scenery receives conservation treatment
World War I Red Cross poster undergoes conservation treatment for exhibition

 

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Easter weekend hours

By Jennifer Tisdale

The Ransom Center will be open throughout Easter weekend, including on Friday, April 3, from 10 a.m. to 5 p.m, and on Saturday and Sunday from noon to 5 p.m.

 

Visitors can view the current exhibition Alice’s Adventures in Wonderland as well as Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Free docent-led gallery tours occur daily at noon and Saturdays and Sundays at 2 p.m. No reservations are required.

 

Admission is free. Your donation will support the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

Please also be aware that the Ransom Center’s Reading and Viewing Room is open from 9 a.m. to 5 p.m. on Saturday, April 4.

 

 

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“My Alices”: Writer John Crowley shares his connection to “Alice’s Adventures in Wonderland”

By Harry Ransom Center

John Crowley, whose archive resides at the Ransom Center, is an American author of fantasy, science fiction, and mainstream fiction. He published his first novel, The Deep, in 1975, and his 14th volume of fiction, Lord Byron’s Novel: The Evening Land, in 2005. He has taught creative writing at Yale University since 1993. A special 25th-anniversary edition of his novel Little, Big will be published this spring. Below, he shares how Lewis Carroll’s classic Alice’s Adventures in Wonderland influenced his own work.

 

A critical (best sense) reader of my work once wrote an entire essay about allusions to and quotes from Lewis Carroll’s Alice’s Adventures in Wonderland books in a novel of mine called Little, Big—a very Alice sort of title in the first place. Some of the quotes and allusions, while certainly there, were unconscious; the turns of phrase and paradoxes and names in those books are so ingrained in me that they simply form part of my vocabulary. I first heard them read aloud: my older sister read them to me when I was about eight years old. I don’t remember my reaction to Alice in Wonderland—except for absorbing it wholly—because for certain books read or heard at certain moments in childhood, there is no first reading: such books enter the mind and soul as though they had always been there. I do remember my reaction to Through the Looking Glass: I found it unsettlingly weird, dark, dreamlike (it is in fact the greatest dream-book ever written). The shop where the shopkeeper becomes a sheep, then dissolves into a pond with Alice rowing and the sheep in the stern knitting (!)—it wasn’t scary, but it was eerie because it so exactly replicated the movements of places and things and people in my own dreams, of which I was then becoming a connoisseur. How did this book know about such things?

 

Another profound connection I have with Alice I only discovered—in delight—some years ago in (of all places) the Wall Street Journal. In an article about odd cognitive and sensory disorders, it described “Alice in Wonderland syndrome:” “Named after Lewis Carroll’s famous novel, this neurological condition makes objects (including one’s own body parts) seem smaller, larger, closer or more distant than they really are. It’s more common in childhood, often at the onset of sleep, and may disappear by adulthood…”

 

I have tried to describe this syndrome to people for years, and never once met anyone who recognized it from my descriptions. In my experience it’s more odd a feeling than this, and more ambivalent: I feel (or felt, as a child, almost never any more) as though my hands and feet are billions of miles distant from my head and heart, but at the same time I am enormously, infinitely large, and so those parts are in the same spatial relation to myself as ever, or even monstrously closer. It was awesome in the strict sense, not scary or horrid, uncomfortable but also intriguing. I wonder if Carroll (Dodgson, rather) had this syndrome. I’ve thought of including it on my resume: “John Crowley was born in the appropriately liminal town of Presque Isle, Maine, and as a child suffered from or delighted in Alice in Wonderland syndrome.”

 

The Ransom Center’s current exhibition Alice’s Adventures in Wonderland is on view through July 6.

 

Related content:

Read other content related to Alice’s Adventures in Wonderland

 

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Featured “Alice’s Adventures in Wonderland” artist Abelardo Morell delivers Amon Carter Lecture

By Marlene Renz

Photographer Abelardo Morell, whose work is featured in the Alice’s Adventures in Wonderland exhibition, delivers the Amon Carter lecture on Thursday, March 26, at 7 p.m. at the Ransom Center.

 

Morell’s work has been collected and shown at institutions including the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Victoria & Albert Museum.

 

Five prints from Morell’s series Alice in Wonderland are on view in the Ransom Center’s current exhibition, Alice’s Adventures in Wonderland. Morell says of this series, “When I began to make photographs illustrating this book by Lewis Carroll I had in mind that books themselves should form the architecture and landscape where the story takes place.”

 

The program is free and open to the public, but donations are welcome. Seating is first-come, first-served, and doors open at 6:30 p.m.

 

Morell’s photographs can be seen in Alice’s Adventures in Wonderland, on view through July 6. Share with #aliceinaustin.

 

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Thoroughly Modern Alice: Incarnations of Lewis Carroll’s heroine through the years

By Alexandra Bass

The titular heroine of Lewis Carroll’s whimsical classic Alice’s Adventures in Wonderland and its sequel Through the Looking-Glass has changed to reflect the aesthetics of the times outside her fictional word. The fantastical nature of the story allows a certain freedom of temporality: although the narrative was written to occur in Victorian Britain, there are no specific indicators of the year, and the story could just as easily have been set in the twenty-first century. The changing visual depictions of Alice reflect this sense of timelessness. Having a contemporary-looking Alice makes it easy for younger audiences to relate to her and helps to explain Wonderland’s enduring popularity.

 

First published in 1865, Sir John Tenniel’s iconic illustrations imagine Alice in a contemporary mid-Victorian pinafore, apron, and stockings. Tenniel’s depiction of Alice was the standard for the rest of the 1800s, but by the turn of the century, when the book went out of copyright, other illustrators reimagined the tale. Bessie Gutmann created Nouveau Alice in 1907, who wears a white, high-necked dress with full, long sleeves; her hair is long, swept up, and adorned with a flower.

 

In the 1920s Alice became a sporty flapper. Willy Pogany’s 1929 illustrations depict a lanky Alice, somewhat older than previous representations, wearing a short, plaid skirt, short sleeve top with a tie at the neck, and knee socks. Her hair is bobbed and boyish, as per the androgynous Jazz Age fashion.

 

Mid-century Alice reverts to the traditional, much like popular culture at the time. Disney released the animated Alice in Wonderland film in 1951, in which Alice dons a blue dress, white apron, and a black ribbon in her hair, very similar to Tenniel’s depiction. Subsequent illustration from the period shows Disney’s influence.

 

During the 1960s and ’70s, Alice adapts to the fashion of the period. One 1970 edition puts an older-looking Alice in a hot pink minidress with a Brigitte Bardot-esque bouffant; another illustration from the same year makes Alice look like she walked off of the set of The Brady Bunch, in a floral-accented minidress, knee socks, and long, straight hair.

 

The continued success of Alice’s Adventures in Wonderland is related to its ability to stay relevant and fresh to generations of readers. The story itself is not rooted in any particular temporal setting, and thus Alice has the ability to change her style to look like her readers. Although Alice was created in the Victorian era, she is anything but drab and prim: she is, more than many other literary heroines, thoroughly modern.

 

See examples of some of these book covers in the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, on view through July 6. Share “Thoroughly Modern Alice” with #aliceinaustin.

 

Related content:

From the Outside In: Illustration from Alice’s Adventures in Wonderland, John Tenniel, 1865

 

Read other content related to the exhibition Alice’s Adventures in Wonderland

 

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Museums and Libraries Celebrate the 150th Anniversary of Lewis Carroll’s Famed Work

By Marlene Renz

2015 marks the 150th anniversary of Lewis Carroll’s classic story Alice’s Adventures in Wonderland. Since its publication in 1865, the book has never been out of print. It has been translated into countless languages and has become a work that truly transcends the time and culture in which it was written.

 

In honor of the book’s legacy the Harry Ransom Center presents Alice’s Adventures in Wonderland. This exhibition follows the evolution of Carroll’s story through time, around the world, and across different types of media, from stage and screen to children’s toys. The exhibition offers something for everyone and provides interactive opportunities throughout. Highlights of the exhibition include a rare copy of the 1865 “suppressed” edition, Carroll’s own photograph of Alice, Edith, and Lorina Liddell, the sisters who inspired the story, and Salvador Dalí’s 1969 illustrations.

 

View the Ransom Center’s Alice’s Adventures in Wonderland video preview.

 

Museums and libraries around the world are joining in the observance of Alice’s sesquicentennial. In New York City, the Morgan Library & Museum will display Dodgson’s original manuscript (on loan from the British Library) in its upcoming exhibition Alice: 150 Years of Wonderland, while Vassar College Archives and Special Collections Library will exhibit an early printing of Alice’s Adventures in Wonderland alongside other works of fantasy from the period. John Tenniel’s original drawings will be shown at Harvard’s Houghton Library, and Philadelphia’s Rosenbach Museum & Library will exhibit Carroll’s letters to publisher Alexander MacMillan and a first edition of the book from his library.

 

Browse upcoming Alice-related events on this list, compiled by The Lewis Carroll Society and the Lewis Carroll Society of North America.

 

Share your exhibition experience with #aliceinaustin.

The Photography of Charles Lutwidge Dodgson (Lewis Carroll)

By Roy Flukinger

Lewis Carroll (Charles Lutwidge Dodgson), “W. L. Dodgson,” 1869. Albumen print, 7.5 x 6 inches. Gernsheim Collection.
Lewis Carroll (Charles Lutwidge Dodgson), “W. L. Dodgson,” 1869. Albumen print, 7.5 x 6 inches. Gernsheim Collection.

 

On Tuesday, March 10, at 4p.m., Roy Flukinger, Senior Research Curator of Photography, speaks about the photography of Charles Lutwidge Dodgson—better known to the world as Lewis Carroll. Flukinger will discuss Dodgson’s pursuit of photography and his recognition as one of the most accomplished amateur photographers of the Victorian Era. The program, presented in conjunction with the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, is free and open to the public. Seating is first-come, first-served, and doors open at 3:30 p.m.

 

In July of 1865, Charles Lutwidge Dodgson returned home from a visit to the family of Rev. Conyngham Ellis, the Rector of Cranbourne. In a letter quickly posted to the eldest Ellis daughter, Dymphna, Dodgson asked for help with a bit of unfinished business. He wrote,

 

Of course I left something behind—always do: this time it was my album of photographs (and autographs). And we also forgot to get your names written in it. So will you please turn 2 or 3 pages on after ‘Mary Millais,’ and then sign your name in the same place in the page as she did, only about half an inch lower down, and then get Mary, Bertha, and Kate to do the same thing in the 3 following pages. And then will you send it by train to Croft Rectory, Darlington. Thank you—much obliged.

 

Dymphna followed Dodgson’s instructions and returned the album, which Dodgson titled Photographs Vol. III. One hundred and fifty years later, it is one of five Dodgson albums held in the photography collection at the Harry Ransom Center.

 

Dodgson carried his albums with him on visits to friends and family, using them not only to show off his photographic work, but also to help him persuade parents and their children to pose for him. The letter to Dymphna Ellis reveals Dodgson’s method of collecting signatures on blank leaves of albums when he made the portraits. He then packed away the albums and negatives and returned to his darkroom to make the albumen prints, pasting them to the appropriate album pages. Photographs Vol. III contains more than a dozen pages bearing a signature but no mounted photograph, suggesting that the photographer did not always secure a final portrait that met his expectations.

 

Dodgson’s albums offer crucial information about his working process but also provide a tangible record of his artistry. Like his diaries, they also reinforce the record of his travels and his interactions with numerous acquaintances throughout Victorian Britain. And, perhaps most critically, they subtly provide us with a deeper and more richly nuanced portrait of the man himself.

 

The Ransom Center’s exhibition Alice’s Adventures in Wonderland is on view through July 6. Share with #aliceinaustin.

 

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Draw Me: A history of the illustrated Alice

By Alexandra Bass

Sir John Tenniel. Dalí. Yayoi Kusama. What do these artists of vastly different styles, mediums, and artistic movements have in common? Each, along with many other artists, has tried their hand at illustrating Lewis Carroll’s classic Alice’s Adventures in Wonderland, a tale so whimsical it demands illustrations. Alice appeals to such a broad range of artists because the creative quality of the story gives artists freedom to interpret the look of the story in any way they please, and the book’s quirky sense of fun is irresistible.

 

The novel’s first illustrator was none other than its author. Charles Lutwidge Dodgson—alias Lewis Carroll—created a handwritten manuscript with 37 illustrations for the story’s muse, Alice Liddell, after she asked him to write down the fantastical story he told her one lazy summer afternoon on a boat ride. Although somewhat amateurish, the ink illustrations depict a sweet, pretty Alice, not unlike the famous Tenniel illustrations. Indeed, Tenniel, a famous Victorian political cartoonist, and Dodgson worked closely together in creating the now-classic illustrations for the first published edition.

 

Tenniel’s classical and rather prim imagining of Alice remained the standard throughout the nineteenth century and still remains the most recognizable Alice illustration today. It was not until the turn of the twentieth century that other illustrators tried their hands at Alice. These illustrations reflect the aesthetic of their time. Mabel Lucie Attwell’s 1910 rendering of Alice and Margaret W. Tarrant’s 1916 version are sweet and feminine and still very much geared toward a young audience.

 

By the middle of the century, illustrations of Alice became more experimental. German illustrator Wiltraud Jasper’s 1958 version is edgy and minimal, all in black and red. In 1969, iconic surrealist Salvador Dalí put his spin on Carroll’s story, creating a dreamy, abstract, and characteristically melty Wonderland in a melancholy color palate.

 

More recently, Japanese pop artist Yayoi Kusama has re-imagined Alice in her signature polka dots in a 2012 Penguin publication of Alice’s Adventures in Wonderland. Kusama steers away from the “classic” scenes of illustrations and instead focuses on details. For instance, the Mad Tea Party chapter features a red-and-black polka-dotted bowler hat instead of the traditional scene of the eccentric cast of characters tucking into high tea at a long table.

 

At the very onset of her story, Alice muses to herself about the importance of illustrations: “‘And what is the use of a book,’ thought Alice, ‘without any pictures?’” What use indeed? Would Alice’s Adventures in Wonderland be the classic book and cultural phenomenon that it is without pictures? Likely not—both readers and illustrators alike have fun with the creative freedom offered by the Alice books.

 

See examples of some of these illustrations in the Ransom Center’s current exhibition Alice’s Adventures in Wonderland, on view through July 6. Share with #aliceinaustin.

 

Related content:

From the Outside In: Illustration from Alice’s Adventures in Wonderland, John Tenniel, 1865

Read other content related to the exhibition Alice’s Adventures in Wonderland

 

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