UT Press has just released a book of campus-wide holdings celebrating the University of Texas at Austin’s vast collections. The Collections: The University of Texas at Austin is the initiative of Andrée Bober, founder and director of the University’s public art program, Landmarks. The book shares more than 80 discrete collections, reflecting the range of holdings at the University. The book offers a stunning look at the history, art, and artifacts that inspire imagination, creativity, and scholarship among the University community.
The exhibition Wildly Strange: The Photographs of Ralph Eugene Meatyard opens March 7 at The University of Texas at Austin’s Blanton Museum of Art. The exhibition features more than 35 photographs exclusively drawn from the Ransom Center’s photography collection and archives of writers from Meatyard’s intellectual circle. The exhibition is organized by Jessica S. McDonald, the Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Harry Ransom Center. The exhibition will be on view through June 21.
Studying the creative process of artists and writers, as well as tracing collaborations and intersections between them, is at the core of research at the Harry Ransom Center. In March 2015, the Ransom Center will highlight the intersection of photography and poetry in its collections, while celebrating creative collaboration across campus, in an exhibition organized with the Blanton Museum of Art. Wildly Strange: The Photographs of Ralph Eugene Meatyard will feature approximately 35 photographs exclusively drawn from the Ransom Center’s photography collection and archives of writers in Meatyard’s intellectual network.
In the late 1950s, Meatyard (1925–1972) began staging elaborate visual dramas enacted by his wife, children, and close friends, and experimenting with multiple exposure, blur, and abstraction to imbue his images with an ambiguous, dreamlike quality. The abandoned farmhouses and densely wooded forests of rural Kentucky served as sets for Meatyard’s symbolic scenes, turning otherwise ordinary family snapshots into unsettling vignettes of life in a deteriorating South. Meatyard called these photographs “Romances,” adopting the definition American satirist Ambrose Bierce provided in his Devil’s Dictionary: “Fiction that owes no allegiance to the God of Things as They Are.”
Groundbreaking in their time and challenging even today, Meatyard’s photographic fictions were embraced by his circle of writers and artists in Lexington, Kentucky. Guy Davenport (1927–2005), a close friend and neighbor, was routinely one of the first to examine Meatyard’s new work and used one of his photographs on the cover of Flowers & Leaves, Davenport’s 1966 long poem. Just after Davenport viewed the last of Meatyard’s photographs in 1972, he wrote to literary scholar Hugh Kenner of the “wildly strange pictures” he had seen. The exhibition will present an intriguing selection of Meatyard’s “Romances” made between 1958 and 1970, including rare variants of published images.
While Meatyard’s “Romances” are familiar to those who study and appreciate photography, his evocative portraits of writers are less well known. Often incorporating the spectral blur and unconventional angles of his primary work, they served as unconventional authors’ portraits for book jackets and promotional materials. Prints were exchanged among Meatyard’s sitters, and many entered the Ransom Center’s collections with their archives. A group of these portraits will be assembled in Wildly Strange: The Photographs of Ralph Eugene Meatyard to highlight the relationships both between these creative figures in Lexington and across the collections at the Ransom Center.
As the Ransom Center continually seeks innovative ways to share its collections, this collaboration with the Blanton Museum of Art will introduce its photography holdings to a new audience and will demonstrate the collective strength of the cultural institutions across The University of Texas at Austin campus.
The exhibition, organized by the National Gallery of Art in Washington with loans from private and public collections, emphasizes the rich and varied works on paper produced in Renaissance Augsburg. “One of the oldest cities in Germany, Augsburg was founded as a Roman military fortress in 15 BCE,” said Catherine Zinser, the Blanton’s curator of exhibitions. “During the reign of Holy Roman Emperor Maximilian I (1459–1519), Augsburg hosted the Imperial Council and became the center from which the emperor organized all of his print and armor commissions. The combined influences of this important seat of government and Augsburg’s location at the crossroads of international trade manifested a diverse artistic community and a thriving art market.”
The Nuremberg Chronicle, an illustrated world history spanning from the biblical Creation of the world to its publication in 1493, depicts Augsburg as a walled city with many churches. One of Nuremberg’s leading artists, Michel Wolgmut, and his stepson, Wilhelm Pleydenwurff, were commissioned to illustrate the publication, which would become the largest book project of its kind in the late fifteenth century. Together, with a workshop of artisans, including a young Albrecht Dürer, Wolgmut and Pleydenwurff created more than 1,800 illustrations from 645 wood blocks. The Nuremberg Chronicle highlights important Western cities, and Augsburg’s prominent, two-page spread speaks to the city’s position as a major center for trade, manufacturing, and publishing.
The Ransom Center holds more copies of the Nuremberg Chronicle–one of the earliest printed books and the first with an existing design–than any other library in the country. The Nuremberg Chronicle along with other prints, drawings, and artifacts are on view at the Blanton Museum through January 5.
The Blanton Museum of Art’s current exhibition Manuel Álvarez Bravo and His Contemporariesfeatures works from the Ransom Center’s photography collections. Blanton Associate Curator of Latin American Art Ursula Davila-Villa discusses the life and work of Álvarez Bravo.
One of the most fascinating aspects of photography is how images change the way we look at the ordinary in the world. Manuel Álvarez Bravo, a master in transforming the everyday into extraordinary images, worked during one of the most important and transformative periods in the history of Mexico. He was a prolific photographer who lived for 100 years. During the 1930s and 1940s, his photographs laid bare a city that saw rapid urban changes that reshaped the face of Mexico. Álvarez Bravo’s unique vision is characterized by intimate scenes that fused local and international artistic developments such as geometric abstraction and surrealism. In 1929, Edward Weston wrote to Álvarez Bravo: “photography’s fortunate in having someone with your viewpoint.”
Their relationship would later develop into a friendship that also included Tina Modotti. The three photographers would work in Mexico and document a country that would capture their minds and hearts. When Modotti was deported from Mexico due to her political activities, she gave Álvarez Bravo her Graflex camera as a gift. It was Modotti who introduced Álvarez Bravo to Eugène Atget’s work, which would become an important influence for Álvarez Bravo.
The exhibition Manuel Álvarez Bravo and His Contemporaries: Photographs from the Collections of the Harry Ransom Center and the Blanton Museum of Art, on view at the Blanton Museum through August 1, features iconic images by Álvarez Bravo and his contemporaries (including Henri Cartier-Bresson, Dorothea Lange, Albert Renger-Patzsch, Walker Evans, and Edward Weston) drawn from the Harry Ransom Center and the Blanton’s collections.