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 firstname.lastname@example.org 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.
Norman Mailer once wrote, “[Boxing] arouses two of the deepest anxieties we contain. There is not only the fear of getting hurt, which is profound in more men than will admit to it, but there is the opposite panic, equally unadmitted, of hurting others.”
Mailer used boxing to explore many of the violent debates of modern American life, debates about sex, gender, race, and even literary style. The Fight, Mailer’s book-length account of the 1974 heavyweight championship bout between Muhammad Ali and George Foreman, touches on many of these subjects while capturing one of the most famous and memorable boxing matches in history. Mailer’s love of the sport shines through as he describes the precision, skill, and art of two of the greatest fighters who ever lived. Mailer’s unabashed egoism and racism are equally evident. Since its publication in 1975, the book has been both widely celebrated and deeply criticized, much like Mailer himself.
In this draft page of The Fight, Mailer offers a description of the charismatic and often outrageous boxer Muhammad Ali. Mailer writes, “Is it possible that Muhammad Ali is the only American in the 20th century one does not need to describe?… when he is looking his best (and Ali has his days) then not only is the greatest athlete who ever lived standing before you but a fellow who is in danger of being the most beautiful man.” Though few could rival Mailer’s oversized ego, in Ali, Mailer may have met his match.
The opening page of Norman Mailer’s handwritten draft of The Fight is on display through August 4 in the Ransom Center’s current exhibition, Literature and Sport. Megan Barnard, Associate Director for Acquisitions and Administration, will lead a curator’s tour of the exhibition on July 31 at 7 p.m.
Considered one of the best books on tennis ever written, John McPhee’s 1969 publication Levels of the Game chronicles Arthur Ashe’s win over Clark Graebner in their 1968 U.S. Open semifinal match. The book offers a nearly stroke-by-stroke account of the match, opening with the first serve and concluding with the winning shot. McPhee interweaves his reporting with in-depth profiles of the two competitors, exploring their disparate upbringings and the racial and sociopolitical undercurrents surrounding their match. In McPhee’s book, Ashe and Graebner become archetypes: Graebner a privileged, white conservative and Ashe a liberal, against-all-odds African American who comes to dominate a traditionally white sport.
In the book,Graebner compares his style with Ashe’s in a description laced with the racial and political undercurrents of the time. He says:
“I’ve never been a flashy stylist, like Arthur. I’m a fundamentalist. Arthur is a bachelor. I am married and conservative. I’m interested in business, in the market, in children’s clothes. It affects the way you play the game. He’s not a steady player. He’s a wristy slapper. Sometimes he doesn’t even know where the ball is going. He’s carefree, lackadaisical, forgetful.… Negroes are getting more confidence. They are asking for more and more, and they are getting more and more. They are looser. They’re liberal. In a way, ‘liberal’ is a synonym for ‘loose.’ And that’s exactly the way Arthur plays.”
In contrast, Ashe describes his opponent:
“There is not much variety in Clark’s game. It is steady, accurate, and conservative. He makes few errors. He plays still, compact, Republican tennis. He’s a damned smart player, a good thinker, but not a limber and flexible thinker. His game is predictable, but he has a sounder volley than I have, and a better forehand—more touch, more power. His forehand is a hell of a weapon. His moves are mediocre. His backhand is underspin, which means he can’t hit it hard. He just can’t hit a heavily top-spun backhand. He hasn’t much flair or finesse, except in the lob. He has the best lob of any of the Americans. He’s solid and consistent. He tries to let you beat yourself.”
David Foster Wallace’s annotated copy of Levels of the Game can be seen in the current exhibitionLiterature and Sport, on display through August 4. Megan Barnard, Associate Director for Acquisitions and Administration, will lead a curator’s tour of the exhibition on July 31 at 7 p.m.
David Foster Wallace’s archive is held at the Ransom Center.
For Macy’s third annual parade in 1926, Norman Bel Geddes produced seven posters that now reside in the Ransom Center’s archive. Learn about the efforts of Ransom Center conservators to repair and frame one of the posters for the exhibition I Have Seen the Future: Norman Bel Geddes Designs America. The project was funded by a Tru Vue Optium® Conservation Grant from The Foundation of the American Institute for Conservation of Historic and Artistic Works.
Organized by the Foundation for the Exhibition of Photography (FEP) in collaboration with the Harry Ransom Center, the exhibition Arnold Newman: Masterclass explores the career of Arnold Newman, one of the finest portrait photographers of the twentieth century.
The exhibition opens March 3 in Germany at C|O Berlin, and the Ransom Center will host the exhibition’s first U.S. showing in February 2013.
This exhibition tour was created under the auspices of the American nonprofit organization FEP. The show highlights 200 framed vintage prints, covering Newman’s career, from the Arnold Newman Foundation archive and the collections of major American museums and private collectors. Twenty-eight photographs from the Ransom Center’s Newman collection are featured in the exhibition.
A bold modernist with a superb sense of compositional geometry, Newman is known for a crisp, spare style that cleverly situates his subjects in context. Artists delighted in sitting for Newman, knowing that he would find a way to convey their sensibility in dramatic, but always appropriate, fashion. Though Newman is celebrated today for his great portraiture, his still lifes, architectural studies, and earliest portraits, often of anonymous people in the street, are far less known, though they can well compare with the best in these genres.
The exhibition takes stock of the entire range of Newman’s photographic art, showing many fine prints for the first time.
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.
In October 1996, world-renowned photographer and author David Douglas Duncan donated his archive to the Harry Ransom Center. The Center has preserved, organized, cataloged, exhibited and made available a variety of images and artifacts that complete the archive, including many that document his years of friendship with Pablo Picasso. Recently, Duncan donated a plate painted by Picasso of his beloved dachshund named Lump.
The new exhibition Picasso at Work. Through the lens of David Douglas Duncan, runs through September 25 at the Museo Picasso, Malaga, and will then move to the Picasso Kuntsmuseum Munster from October 15 to January 15, 2012 and finally at La Piscine Musee d’Art in Roubaix, France, beginning in February 2012. Ransom Center photo archivist Mary Alice Harper’s essay “The Nomadic Lens of David Douglas Duncan,” featured in the exhibition catalog, has been published in English and Spanish by Museo Picasso Malaga, in German by Hirmer, and in French by Gallimard. Below is an excerpt from Harper’s essay.
In late January of 1956, Duncan set off to begin his next Life assignment. He was headed for Spain but with one detour in mind, stopping in Cannes to try and meet Picasso. Duncan was unsure whether or not he would find the artist at home, and, if so, be permitted to enter. In fact, he had intended to meet Picasso for years, ever since his friend and fellow photojournalist Robert Capa promised to introduce them. But Capa had died tragically in 1954, so Duncan decided to present Picasso with a gift when the time came. He had a ring made for the occasion: a solid but simple heavy gold band with “PICASSO—DUNCAN” incised inside and set with an ancient carnelian with a “Picassoesque” rooster carved on it. Picasso clearly appreciated the gesture as Duncan was permitted to enter. Three days later in a letter to a friend he described what had transpired:
The girl [Jacqueline] came down. Maybe thirty, black slacks and pullover… and wonderfully friendly. I’d thought that she might be the protective guardian type. Told her why I was there, and gave her the ring for Pablo P. She went upstairs, two at a time. I looked around. The place was jammed with crates, boxes, bronzes, cartons, barrels… they had been in the place for around half a year—not a single piece of furniture. Nothing! She came downstairs, grabbed me by the hand and up we went. No furniture. Whizzed through a series of corridors and rooms, followed a black electrical connection cord… into the bathroom, and there he was—cheerily lathering himself, in the tub! It was perfect! Pablo Picasso without much question, the greatest living artist of our century, black eyes dancing, warm and safe and wringing wet, in his bathtub. In went the ring, soap and all. She went on scrubbing his back… which she’d been doing when I arrived. Picasso and I talked in Spanish, she and I in English; I must have seemed naked, too, without my camera so he told me to get it, that the pictures, if I wanted them, might be interesting, since this was one place where no one had ever nailed him. From that moment on we had one of those times that I really shall treasure. After she dried him off and he pulled on a heavy bathrobe, we went into the next room… no furniture… where he got his glasses, and my magnifier, and then really looked at his ring… After carefully examining the stone, and carving… “What instrument could the man possibly have used?”, sort of a query to himself. Best of all he understood the reason why I gave it to him and accepted it exactly as intended. I feel that it delights him. We went downstairs. The front three rooms… only two tables, crammed with things he has made, painted, turned or twisted into life… The place was mine. Picasso and Jacqueline simply took me in as a third member… fourth, counting that boxer… Possibly it was an exceptional day, but he radiated one extraordinary quality… youthful exuberance; a child’s direct, intense feeling for the impact of those moments that we remember through the remainder of our years. This man still has it.
The Tennessee Williams Film Series at the Ransom Center concludes tonight with Richard Brooks’s Sweet Bird of Youth (1962), featuring Paul Newman and Geraldine Page. The series features films highlighted in the current exhibition,Becoming Tennessee Williams, which runs through July 31.
Chance Wayne (Newman), returns to his hometown of St. Cloud in order to reunite with his childhood sweetheart, Heavenly Finley, whose father ran Chance out of town years before. Chance left to become a movie star, but he never made it big. Instead, he supported himself largely by becoming the lover of older, wealthy women. One of them, the aging movie star Alexandra Del Lago (Page), accompanies him on this trip. As Chance feels his youth and good looks fading, he becomes more and more desperate to seize his dreams of happiness with Heavenly.
For the film version of Sweet Bird of Youth, Paul Newman and Geraldine Page reprised their Broadway roles. As with all adaptations of Williams plays from stage to screen, significant changes were made. In the play, Heavenly refuses to run away with him; in the final moments, Heavenly’s brother Tom and a group of his friends prepare to attack, and possibly kill, Chance. Several of Williams’s drafts of this final scene depicted Chance being castrated. In the film, however, Heavenly does leave with Chance. The final image is of the couple, along with Alexandra Del Lago, driving into the distance, presumably to live a happy life. This ending removes the aura of perpetual failure that surrounds Chance in the play and turns him into a more traditionally empowered hero.
Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings.
Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.
This post was written by Ransom Center volunteer Emily Butts.
The Tennessee Williams Film Series continues tonight at the Ransom Center with Elia Kazan’s Baby Doll (1956), featuring Karl Malden, Eli Wallach, and Carroll Baker. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition,Becoming Tennessee Williams, which runs through July 31.
Middle-aged Archie Lee Meighan (Malden) looks forward to finally consummating his two-year marriage with Baby Doll (Baker) on her upcoming 20th birthday. When rival Silva Vacarro’s (Wallach) cotton gin burns down, Vacarro plots revenge against Archie Lee through Baby Doll.
Karl Malden was an American method actor who created both the Broadway and film roles of Mitch in A Streetcar Named Desire as well as the role of Archie in Baby Doll. Malden had a long and full career and was considered, from a casting agent’s point of view, “the ideal Everyman,” as he was remembered in his obituary in The New York Times. Malden’s performances in Williams’s Streetcar and Baby Doll are two of his strongest, and he flourished as an actor under the direction of Elia Kazan. As Malden put it, critics applauded him for being “No. 1 in the No. 2 parts I was destined to get.”
Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings. Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.
This post was written by Ransom Center volunteer Emily Butts.