A fully illustrated catalog by Ransom Center Curator of Film Steve Wilson has been co-published by the Ransom Center and University of Texas Press to complement the exhibition The Making of Gone With The Wind.
Featuring more than 600 images from the Ransom Center’s archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, The Making of Gone With The Wind offers fans and film historians alike a must-have behind-the-camera view of the production of this classic film.
Read the foreword of the book by Robert Osborne, film historian and host of Turner Classic Movies (TCM), where he notes that Gone With The Wind was the first film aired when TCM launched in 1994.
Join the conversation about the exhibition online with the hashtag #makinggwtw. Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.
“We dream of cars that will float or fly, or run on energy from a laser beam, or travel close to the ground without wheels. Such research may border on the fantastic, but so did the idea of a carriage going about the country without a horse.” –The Ford Book of Styling, 1963
The High Museum of Art in Atlanta is currently hosting the exhibition Dream Cars through September 7, which includes items from the Ransom Center’s Norman Bel Geddes collection. The exhibition showcases the innovative and artistic design of rare vehicles from the early 1930s to 2010 and encompasses the evolution of the automobile from a horseless carriage to a sleek, highly functional speed machine. Dream Cars highlights designs and models from across Europe and the United States, including a blueprint, a photograph, and three drawings of Bel Geddes’s 1932 design, Motorcar No. 9.
The exhibition brings together 17 concept cars, including designs from Ferrari, Bugatti, General Motors, and Porsche. These vehicles are paired with conceptual drawings, patents, and scale models to demonstrate how imaginative designs and innovation changed the automobile from a basic, functional object to a symbol of limitless possibilities.
None of the vehicles and designs on display in this exhibition were ever intended for production. Rather, they represent the “dream” of future possibilities and highlight the talent and imagination of industrial designers.
Bel Geddes was an American theatrical and industrial designer who gained fame in the 1920s, ’30s, and ’40s. The Motorcar No. 9 model demonstrates his expertise in aerodynamics and streamlining as a means to modernism. The Ransom Center’s extensive Norman Bel Geddes archive includes a model of Motorcar No. 9 among other papers, designs, and artifacts that span 50 years.
Two new interactive activities—an audio tour and a passport project—are now available for visitors to the exhibition The World at War, 1914–1918.
Daniel Carter, a PhD student in the School of Information at The University of Texas at Austin who researches how people interact with cultural objects, facilitated the pilot project.
“I spent some time in the gallery watching people move through TheWorld at War exhibition,” said Carter. “I became interested in thinking about other kinds of interactions that might happen in that space.”
Carter reached out to designer Brent Dixon and local theater group Paper Chairs to ask them to produce something for visitors in the gallery. In response, Dixon created the passport project, and Paper Chairs recorded an audio tour for the exhibition.
Visitors can receive a passport booklet with a map to guide them through the exhibition and to illustrate the larger story of how each country was affected by the war. Within each country’s section of the exhibition, visitors will find a reproduction of a major artifact—for example, French poet and soldier Roger Allard’s description of conditions at the frontline. The passport project, reminiscent of a scavenger hunt, provides visitors context with another way of engaging with the exhibition.
“Our hope is for people to approach each section of the exhibition with a slightly richer context,” said Dixon.
The Paper Chairs audio tour brings textual material in the exhibition to life so that it can be experienced on a personal level. Kelli Bland of Paper Chairs chose 15 letters and poems in the exhibition and recruited talent from her theater community to read them aloud. Rather than mimicking the dialects and accents of the writers, the actors instead aimed to capture the emotion of the letters and poems and to give a human voice to the documents so that visitors could connect with the material.
“We, as a society, are separated from the experience of war,” Bland said. “I am hoping that our little guide will support the message I received from the exhibition: war is consuming, thrilling, and terrible. It changes the world and all of the people in it.”
The current exhibition, including Dixon’s passport project and the Paper Chairs audio tour, is on view through August 3. The audio guide and passport are available at the visitor desk during regular gallery hours.
To honor acclaimed novelist, naturalist, and wilderness writer Peter Matthiessen (1927–2014), the Ransom Center is highlighting materials from his archive in its lobby.
Matthiessen was born in New York City to a well-to-do family and educated at Yale. Determined to pursue a writing career, Matthiessen moved to Paris where he became one of the founders of The Paris Review, which, he later admitted, he invented as a cover while working briefly for the CIA. In his 45-year career as a writer, Matthiessen produced more than 30 works, winning National Book Awards for The Snow Leopard (1978) and Shadow Country (2008), a one-volume revision of a trilogy of frontier Florida novels published in the 1990s. In writing to the Ransom Center about Shadow Country, Matthiessen confessed, “I was dismayed to find upon opening the finished product at long last that it was still unfinished.”
Matthiessen’s rich archive was acquired by the Center in 1995, and materials wereadded in succeeding years. It includes manuscripts, correspondence, journals, and professional files that span his writing career and include fiction, nonfiction, and essays, often in multiple drafts.
Writer James Salter, whose papers also reside at the Ransom Center, paid tribute to Matthiessen in The New Yorker.
The materials in the lobby are on view through April 27.
World War I played a crucial part in the transformation of gender roles. As men left for the battlefields, women took on traditionally male occupations at home. Buoyed by this experience and a new sense of confidence, these women started demanding more rights and independence.
These shifting roles were mirrored by new fashions, such as the flapper attire, which was ushered in by the rebellion of the post-war Jazz Age. Style magazines like Vanity Fair captured these trends on its covers.
Gordon Conway, a Texas-born fashion designer and illustrator, was famous for her drawings of these sophisticated and independent “New Women.” Conway launched her career at Vogue and Vanity Fair, and she was so talented that she was soon working for other publications, as well as a host of different advertising clients. Throughout her career, she did costume design, magazine art, and poster art for film, cabaret, and theater, working in New York, London, and Paris. She was remarkable not only for her artistic talent, but also for her ability to influence women’s desires for more cultural, sexual, and legal freedoms.
A Conway cover illustration for Vanity Fair is currently on display in the Ransom Center’s exhibition The World at War, 1914-1918. The illustration features a stylish, svelte nurse with an Afghan hound. Although the illustration was rejected for publication, it was later used by the Red Cross as a recruitment poster.
The Ransom Center’s Conway collection includes original art; photographs of family, friends and productions; and diaries, costumes, personal effects, datebooks, and numerous scrapbooks.
The World at War, 1914-1918 runs through August 3, 2014.
Image: Gordon Conway “Red Cross Girl” illustration for Vanity Fair, 1918.
The Harry Ransom Center is raising $50,000 in 75 days for the Center’s 2014 exhibition The Making of Gone With The Wind. This Hollywood classic premiered in 1939 and will mark its 75th anniversary in 2014.
Film producer David O. Selznick’s 1939 epic film Gone With The Wind was embroiled in controversy before a single frame was shot. Based on the 1936 novel by Margaret Mitchell, the film’s depictions of race, violence, and cultural identity in the South during the U.S. Civil War and Reconstruction continue to both compel and trouble audiences around the world.
The exhibition will reveal surprising new stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released.
The exhibition will include over 300 original items from the Selznick archive housed at the Ransom Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. These recently conserved costumes will be displayed together for the first time in more than 25 years.
Your support will provide funds for outreach, additional docent-led tours, a published exhibition catalog, and complementary programming and presentations. Donors will be acknowledged on the Ransom Center’s website and receive the following:
$10-$499: Commemorative save-the-date postcard with an image from the Ransom Center’s collection.
$500-$999: Complimentary Ransom Center membership for one year, at the dual level, which includes two tickets to the exhibition opening party.
$1,000-$4,999: Complimentary copy of the exhibition catalog.
$5,000+: Special curators’ tour for up to six people.
Enjoy a day of photography at the Ransom Center’s open house on Saturday, September 28 from noon to 5 p.m. Join us for activities including “jet-setter” tours of the current exhibition, Radical Transformation: Magnum Photos into the Digital Age, gallery activities, and mini-tours of the conservation department. Attendees will have the rare opportunity to learn how staff of the Ransom Center preserve and conserve collection materials, including photographs.
Commemorate your visit by posing in a photo booth inspired by the golden age of travel.
On the plaza, enjoy the music of the 1950s and 1960s with GirlFriend. Food trailers including mmmpanadas will have snacks available for purchase.
The first 100 guests will receive a gift bag that includes items from Austinuts, Tommy’s Salsa, Dr. Kracker, Texas Olive Ranch, and more. Maine Root sodas and KIND bars will provide complimentary treats.
The Ransom Center’s pop-up store will feature a merchandise sale, including glass water bottles inspired by the Center’s windows and Magnum Photos-inspired t-shirts, postcards, and publications. Attendees will have the opportunity to win a prize package that includes signed books.
Special thanks to these sponsors and participants: Austinuts, Dr. Kracker, KIND bars, Maine Root Soda, Texas Olive Ranch, and Tommy’s Salsa.
Photojournalist Susan Meiselas broke tradition when she photographed the “people’s revolt” in Nicaragua in color. In 1981, black and white was still the accepted medium in which to depict conflict. Yet, she described the choice as best capturing “the vibrancy and optimism of the resistance.”
Learn more about Meiselas’s photograph and how it influenced Donna DeCesare, award-winning documentary photographer and University of Texas at Austin Associate Professor of Journalism. DeCesare writes about this and other images from the current exhibition Radical Transformation: Magnum Photos into the Digital Age, noting their impact on her photography and teaching.
Radical Transformation: Magnum Photos into the Digital Age, on display at the Ransom Center from September 10 through January 5, explores the evolution of Magnum Photos from print journalism to the digital age, revealing a global cooperative in continual flux, persistently exploring new relationships between photographers, their subjects, and their viewers.
On this Thursday, September 26 at 7 p.m., DeCesare speaks about her new book Unsettled/Desasosiego, which explores the effects of decades of war and gang violence on the lives of youths in Central America and the United States. A book signing follows.
DeCesare was recently honored with a Maria Moors Cabot Prize from the Columbia University Graduate School of Journalism for outstanding reporting on Latin America and the Caribbean.
Enjoy a signature champagne cocktail and hors d’oeuvres at this reception and pose in our photo booth inspired by the golden age of travel. Guests will also have the opportunity to enter to win an exclusive prize package that includes a dinner for two at Uchi, a two-night stay at Hotel San Jose, a handcrafted vintage suitcase, and more. DeeJay jLa will be playing records from the ‘50s and ‘60s, the era of Magnum Photo’s founding, on the plaza.
Be among the first to explore the exhibition, which chronicles the evolution of Magnum Photos, the iconic photography cooperative. Magnum photographers have produced some of the most memorable images of the last century, shaping history and revolutionizing photography’s influence on modern culture.
Ransom Center members receive complimentary entry and valet parking at this celebration. If you are not yet a member, tickets to the opening will be available for $20 at the door (valet parking is not included for non-members).
The Ransom Center is giving away a pair of tickets to “Boundless.” Email email@example.com with your favorite travel destination in the subject line by midnight CST tonight to be entered in a drawing for complimentary admission for two. The winner will be notified by email.
Special thanks to these sponsors: Austin Wine Merchant, Blanton Museum of Art, BookPeople, Dripping Springs Vodka, Hotel San Jose, Shuford Alexander Cases, and Uchi
Magnum Photos photographers have produced some of the most memorable images of the last century, shaping history and revolutionizing photography’s influence on modern culture. Founded in 1947, it was the first cooperative agency to be established and operated by photographers, thus ensuring unprecedented creative, editorial, and economic independence.
Its founders, including renowned photographers Robert Capa, Henri Cartier-Bresson, David “Chim” Seymour, and George Rodger, united in their pursuit of creative freedom and their commitment to sharing their images with the world. Membership in this collective empowered photographers to document conflict and liberation, revolution and reform, while preserving their own powerfully distinct points of view.
Established during the post-war golden age of the picture magazine, Magnum has flourished despite the impact of radical technological, economic, and cultural transformations on publishing and media. When television began to take over as the dominant form of mass communication in the 1950s, Magnum photographers explored motion picture and book formats. As the editorial market continued to shrink, photographers found new audiences in museums and galleries. Over the last decade, new technologies have dramatically changed the way photographic imagery is captured, distributed, and consumed. In this new environment, Magnum photographers have kept pace, experimenting with a variety of multimedia platforms to publish their work.
Organized by Jessica S. McDonald and Roy L. Flukinger, this exhibition of approximately 300 works investigates the evolution of Magnum Photos from print photojournalism to the digital age, revealing a global cooperative in continual flux, persistently exploring new relationships between photographers, their subjects, and their viewers.
The Ransom Center presents the symposium “Magnum Photos into the Digital Age” on October 25–27. This symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding. Twelve Magnum photographers, as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear on panels with a focus on the cooperative’s evolution and future.