Navigate / search

Now open: “Arnold Newman: Masterclass”

By Alicia Dietrich

Graphic identity for the exhibition "Arnold Newman: Masterclass."
Graphic identity for the exhibition "Arnold Newman: Masterclass."

The exhibition Arnold Newman: Masterclass opens today at the Harry Ransom Center and runs through May 12.

This exhibition explores the career of photographer Arnold Newman (1918–2006), who created iconic portraits of some of the most influential innovators, celebrities, and cultural figures of the twentieth century. Newman’s archive resides at the Ransom Center.

A bold modernist with a superb sense of compositional geometry, Newman is known for a crisp, spare style that situates his subjects in their personal surroundings rather than in a photographer’s studio. Marlene Dietrich, Harry Truman, John F. Kennedy, Arthur Miller, Salvador Dalí, and Pablo Picasso are only a few of his celebrated sitters. Featuring more than 200 of these well-known masterworks, Arnold Newman: Masterclass also includes rarely seen work prints and contact sheets.

The first major exhibition of the photographer’s work since his death, Arnold Newman: Masterclass showcases the entire range of Newman’s photography, featuring many prints for the first time.

Admission to the exhibition is free, but donations are welcome. Free docent-led tours of the exhibition are offered Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.

The exhibition can be seen in the Ransom Center Galleries on Tuesdays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The galleries are closed on Mondays.

Become a member now to receive complimentary admission and valet parking at “Face to Face,” the opening celebration for the photography exhibition Arnold Newman: Masterclass. If you are not yet a member, you may purchase individual tickets for $20 (valet parking not included) at the door.

Victoria and Albert Museum’s "Hollywood Costume" exhibition features costumes from the Ransom Center

By Edgar Walters

Costumes from the Robert De Niro collection are on display at the Victoria and Albert Museum in London. ©V&A images.
Costumes from the Robert De Niro collection are on display at the Victoria and Albert Museum in London. ©V&A images.

The rich history of costume design and its most visionary personalities takes center stage in Hollywood Costume, the latest exhibition at the Victoria and Albert Museum (V&A) in London, which opened October 20. Some of Hollywood’s most iconic characters are the focus of the exhibition, which spans a century of film history. Seven costumes featured in the exhibition are on loan from the Harry Ransom Center.

Costumes are significant to a film production because they allow an actor to inhabit the character. In the words of Martin Scorsese, “The costume of the character is the character—the tie a man wears can tell you more about him than his dialogue.” Four of the Center’s costumes on loan to the V&A are from Scorsese films, specifically Raging Bull (1980), Casino (1995), The King of Comedy (1983), and Taxi Driver (1976).

For Robert De Niro, donning the costume was part of the transformation process necessary to fulfilling his role in Taxi Driver. Ruth Morley, costume designer for  the film, said, “When I finally found the plaid shirt Bobby wanted to wear, when I found the army jacket, the pants, well he wanted to wear them.” That army jacket and plaid shirt, part of the Ransom Center’s Paul Schrader collection, is on display at the exhibition. A fifth costume worn by De Niro, from Frankenstein (1995), is also featured.

Hollywood Costume is made up entirely of loaned objects, which made the curators’ job of featuring the “most enduring cinema costumes from 1912 to the present day” especially challenging. Historically, there has been a significant lack of documentation regarding Hollywood costumes, which compounds the difficulty of research in the field of costume design. Following the decline of the Hollywood studio system after its peak in the 1930s, 1940s, and 1950s, many props, costumes, and related ephemera were sold off in public auctions. Not surprisingly, many of the more than 100 costumes displayed are on loan from passionate private collectors.

Two costumes from Gone With The Wind, part of the Ransom Center’s David O. Selznick collection, also feature prominently in the V&A exhibition. The green curtain dress and the burgundy ball gown, both worn by Scarlett O’Hara (Vivien Leigh), are particularly fragile and required special care, including customized textile boxes that would mitigate any movement or abrasion that might be caused by motion in transit. Jill Morena, the Center’s Assistant Curator for Costumes and Personal Effects, couriered the costumes and oversaw their installation at the V&A. Cara Varnell, an independent costume conservator who performed conservation work on the dresses, also assisted with the installation.

The exhibition offers a chance to explore what V&A Assistant Curator Keith Lodwick calls the “often misunderstood role of the costume designer.” That role, ever adapting to changes in the industry, is powerful enough to influence culture and memory far beyond the scope of a 90-minute film. Ultimately, the costume designer can develop a character into a cinematic icon.

In the Galleries: John Speed’s Postdeluvian Genealogy from the First Edition of the King James Bible

By Io Montecillo

Historian John Speed (1542–1629) worked with Hebrew scholar Hugh Broughton to create a 36-page genealogy to accompany the first printing of the King James Bible. The genealogy traced “euery family and tribe with the line of Our Sauior Jesus Christ obserued from Adam to the Blessed Virgin Mary.” Speed’s genealogy (1611) portrays the then-popular view that Noah’s sons went on to populate specific regions of the world: Shem to Asia, Japheth to Europe, and Ham to Africa. In the Americas, pro-slavery advocates used the “curse of Ham” to justify the enslavement of Africans and their descendants.

Speed’s genealogy and other manuscripts related to the King James Bible are on view in the exhibition The King James Bible: Its History and Influence through July 29.

 

Please click on the thumbnails below to view full-size images.

 

In the Galleries: Robert De Niro’s King James Version-inspired tattoos in "Cape Fear"

By Io Montecillo

The 1991 Martin Scorsese–directed thriller Cape Fear may seem an unlikely candidate for documenting the use and influence of the King James Bible, but its central character, Max Cady, as played by Robert De Niro, wielded biblical verses like weapons.

This aspect of Cady was absent in both the original 1962 film starring Gregory Peck and Robert Mitchum and in The Executioners (1957), the novel by John D. MacDonald on which the film was based.

Cape Fear follows Cady, a convicted felon, as he seeks vengeance against his attorney, Sam Bowden. While in prison, Cady learned that Bowden suppressed information that might have resulted in a lighter sentence or acquittal. The biblical story of Job’s suffering looms large as a model for Cady’s punishment of Bowden.

The research materials from the Robert De Niro collection reveal the extent to which De Niro was involved in the development of the Pentecostal past of and biblical influence on Cady. To prepare for the role, De Niro consulted multiple Bibles, a concordance, Bible study guides, Stephen Mitchell’s translation of the Book of Job, and books and articles about Pentecostalism and Pentecostal worship.

Screenwriter Wesley Strick recalled, “Every scene of Bob’s, he would call me and say, ‘Can Max say something else here about vengeance, from the Bible?’” De Niro also worked closely with Scorcese and artist Ilona Herman to identify Bible verses and designs for Cady’s extensive tattoos.

Cape Fear did not offer viewers a traditional Bible story. Indeed, Cady’s use of the Bible was troubling for many audiences, and it contributed to the tension of the film. One critic observed, “The dissonance between the cultural expectations we associate with the Bible and our immediate perception of this character [as evil] contributes to the sustained horror of the film.”

Materials from Cape Fear and other films influenced by the King James Bible are on view in the exhibition The King James Bible: Its History and Influence through July 29.

Please click on the thumbnails below to view full-size images.

In the Galleries: Anatomy of the King James Bible title page

By Io Montecillo

The title page of the 1611 King James Bible is the first title page of an English Bible to feature a depiction of the Trinity: Father, Son, and Holy Spirit. Though this Bible is traditionally called the “King James,” the title page does not announce the king’s patronage by featuring his image. View a full-size version of this image here.

The imposing architectural frame, suggestive of a church edifice, is full of human figures, including Moses and Aaron, the Evangelists, and the Apostles. Traditionally, Jesus had twelve Apostles, but the thirteen depicted here include Matthias, who replaced Judas after his betrayal (Acts 1:26), and Paul, who described himself as an Apostle in Romans 1. Each apostle is represented by a symbolic attribute, though not all are easily identifiable.

The first edition’s title page and other materials pertaining to the King James Bible are on view in the exhibition The King James Bible: Its History and Influence through July 29.

Recommended Reading: The King James Bible: Its History and Influence

By Io Montecillo

Cover of Joseph Heller's "God Knows," a recommended reading pick by exhibition co-curator Danielle Brune Sigler.
Cover of Joseph Heller's "God Knows," a recommended reading pick by exhibition co-curator Danielle Brune Sigler.

The Ransom Center’s current exhibition The King James Bible: It’s History and Influence tells the little-known story of one of the most widely read and printed books in the history of the English language. Exhibition co-curator Danielle Brune Sigler offers a list of recommended reading that traces the history of the influence of this translation.

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.

Preparator Wyndell Faulk installs a video screen in the galleries for the upcoming exhibition “The King James Bible: Its History and Influence,” which opens February 28. Photo by Alicia Dietrich.
Preparator Wyndell Faulk installs a video screen in the galleries for the upcoming exhibition “The King James Bible: Its History and Influence,” which opens February 28. Photo by Alicia Dietrich.
Marianne Fulton, a consultant who will be contributing to a book on photographer Arnold Newman, orders photographs for the project. Photo by Kelsey McKinney.
Marianne Fulton, a consultant who will be contributing to a book on photographer Arnold Newman, orders photographs for the project. Photo by Kelsey McKinney.

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.

Ransom Center staffers stuff member invitations for the upcoming exhibition
Ransom Center staffers stuff member invitations for the upcoming exhibition
Graduate student intern Kevin Auer applies gelatin to a medieval text to conserve the ink on the page.  Photo by Kelsey McKinney
Graduate student intern Kevin Auer applies gelatin to a medieval text to conserve the ink on the page. Photo by Kelsey McKinney
Senior book conservator Olivia Primanis demonstrates the elements of book structure with intern Hsiang-Shun Huang and volunteers Christopher Jones and Margaret Schafer so they can write a treatment report before repairing
Senior book conservator Olivia Primanis demonstrates the elements of book structure with intern Hsiang-Shun Huang and volunteers Christopher Jones and Margaret Schafer so they can write a treatment report before repairing

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.

From Longhorn to the "Mayor of Greenwich Village"

By Kelsey McKinney

Lew Ney was a member of the Glee Club while he attended The University of Texas. He's pictured here in a photo from the 1906 Cactus yearbook on the bottom row, second from the right.
Lew Ney was a member of the Glee Club while he attended The University of Texas. He's pictured here in a photo from the 1906 Cactus yearbook on the bottom row, second from the right.

Before Lew Ney became the Mayor of Greenwich Village (and a signer of the door featured in the current exhibition The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925), he was a Longhorn. Born and raised in Austin, Texas, as Luther E. Widen, Lew Ney graduated from Austin High School and enrolled in The University of Texas in 1904. He began his undergraduate career in the College of Engineering but after one year transferred to the Humanities Department. He was an active member of the Glee Club as a second tenor for three years before leaving the University in 1907.

Ultimately, Ney received his undergraduate degree from Nebraska and his

Detail of Ney from the Cactus yearbook photo.
Detail of Ney from the Cactus yearbook photo.

master’s degree  in psychology at Iowa State University. He moved to Greenwich Village in the early 1920s and married Ruth Thompson in 1928. He was known in the Village as a writer, printer, type designer, and publisher. Most notably, he published the magazine Parnassus and the early works of writers Parker Tyler and Maxwell Bodenheim.  He is most famous for his creation of the exquisite typesetting font (L283) that was well suited for poetic works.

Eventually, Ney would become a community character proclaimed “the Mayor of Greenwich Village.”

The bookshop door with Ney’s signature is on display in The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 through January 22. Also, visit the related web exhibition, which uses the door as an entryway into the lives, careers, and relationships of New York bohemians of that era.

Special thanks to The Alcalde for assisting with the yearbook images.

Published by Lew Ney, 'Blues: A Magazine of New Rhythms 8' was founded by Parker Tyler, and Charles Henri Ford, who dropped out of high school to edit it. This spring 1930 issue was published when Ford was just seventeen. It features several writers whose archives reside at the Ransom Center: Tyler, Ford, Paul Bowles, and Louis Zukofsky. The Center also houses important collections of contributors Kay Boyle, John Herrmann, Gertrude Stein, and William Carlos Williams.
Published by Lew Ney, 'Blues: A Magazine of New Rhythms 8' was founded by Parker Tyler, and Charles Henri Ford, who dropped out of high school to edit it. This spring 1930 issue was published when Ford was just seventeen. It features several writers whose archives reside at the Ransom Center: Tyler, Ford, Paul Bowles, and Louis Zukofsky. The Center also houses important collections of contributors Kay Boyle, John Herrmann, Gertrude Stein, and William Carlos Williams.