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Winter break hours

By Alicia Dietrich

Holiday hours for the Ransom Center are as follows:

 

Ransom Center Galleries
10 a.m.–5 p.m. Tuesday, Wednesday, and Friday
10 a.m.–7 p.m. Thursday
Noon–5 p.m. Saturday and Sunday

 

The Ransom Center Galleries are closed Mondays and the following holidays:
Christmas Eve Day (Tuesday, December 24)
Christmas Day (Wednesday, December 25)
New Year’s Day (Wednesday, January 1)

 

Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Monday, December 23, through Wednesday, January 1.

 

Visitors can see the current exhibition, Radical Transformation: Magnum Photos into the Digital Age through January 5.

 

The First Photograph and the Gutenberg Bible remain on permanent display.

 

Docent-led gallery tours occur on Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on Thursday, November 28.) The public tours meet in the lobby, and no reservations are required.

 

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

 

The Cultural Compass blog will be on hiatus during the University’s winter break and will return the week of January 6.

Thanksgiving holiday hours

By Alicia Dietrich

The Ransom Center will be closed on Thanksgiving Day. Please be aware that the Ransom Center Galleries are open on this Friday, November 29, from 10 a.m. to 5 p.m.  and from noon to 5 p.m. on Saturday, November 30, and Sunday, December 1.

 

Visitors can view the current exhibitions Radical Transformation: Magnum Photos into the Digital Age and Eli Reed: The Lost Boys of Sudan. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Docent-led gallery tours occur on Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on Thursday, November 28.) The public tours meet in the lobby, and no reservations are required.

 

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

 

The Ransom Center’s Reading and Viewing Rooms and administrative office are closed on Thursday, November 28, and reopen on Monday, December 2.

 

Image: John Audubon’s illustration of a wild turkey from “Birds of America.” 1827.

Editor of “Reading Magnum” explores Magnum Photos collection

By Steven Hoelscher

Steven Hoelscher, editor of Reading Magnum: A Visual Archive of the Modern World, will discuss the book at The Contemporary Austin tonight in an event hosted by Austin Center for Photography, University of Texas Press, and The Contemporary.

 

The arrival in December 2009 of some 200,000 press prints from Magnum Photos’s New York bureau represented a remarkable opportunity for scholarship—and a substantial challenge. Although Magnum’s photographers had received considerable individual attention and lavish coffee table books have reproduced their iconic images, no scholarly work to date had assessed the photo agency’s visual archive. Important retrospectives have been published, but their textual brevity and the fact that the photo agency itself produced them suggested the opportunity for a critical, independent study.

 

Thus, the time seemed ripe to dig into the collection, to see what’s there, and to consider how the photographs fit into a larger cultural history. Here, of course, is where the challenge arises. How to approach the photo collection? What sort of organizational frameworks would seem to be most appropriate? What should the resulting publication look like? I spent roughly six months combing through the 1,300 archival boxes to find answers to these questions.

 

During this preliminary research, several things occurred to me.  First, while nearly limitless possibilities of scholarly frameworks existed, a half dozen themes kept emerging as I studied the contents of the archival boxes. War and conflict, of course, was important, but so too was portraiture and geography. What’s more, cultural life, social relations, and globalization stood out as recurring themes.

 

Second, it became immediately evident that three years would not be nearly long enough for me alone to take on such a project, and it was always my intention for the volume to be published in conjunction with the current exhibition Radical Transformation: Magnum Photos into the Digital Age, which was curated by Jessica S. McDonald and Roy Flukinger. The book would necessarily be one of collaboration. Here, I was fortunate to be joined by seven distinguished scholars for this project. They are trained in a range of academic fields—art history, journalism, literature, cultural history, geography, cultural studies, communications, and visual studies—for the simple reason that no one perspective can adequately encompass the Magnum archive’s reaches. Each contributor spent considerable time with the collection at the Ransom Center, and each brings his or her unique point of view to the collection’s materials.

 

What each chapter shares is a concern for historical and cultural context that is so often missing when photographs are disconnected from their original settings.

 

Finally, I wanted the book to reflect the dual nature of photographs: that they were both physical objects and the bearers of compelling imagery. With this in mind, two sets of works—bookends, if you will—surround each chapter. I included a set of “Notes form the Archive,” which emphasizes the materiality of the photograph and traces its trajectory, from annotated press prints to distribution to eventual publication. A “Portfolio” then follows each chapter, illustrating something of the depth and range of the images carried by a photograph.

 

Putting this book together has been a real labor of intellectual love. The deeper I dug into the Magnum Photos collection, the more impressed I was by the depth, range, and artistry of the contents. It’s my hope that Reading Magnum reflects something of the collection’s power.

Video: Magnum photographer Eli Reed discusses his career and documentary photography

By Alicia Dietrich

 

The exhibition Eli Reed: The Lost Boys of Sudan is on view at the Ransom Center through December 8.

 

In the above video, Eli Reed, Magum photographer and a clinical professor of journalism at The University of Texas at Austin, discusses his career and working methods.

 

In 2001, Reed traced the path of some of the more than 20,000 “Lost Boys,” as aid workers have called them, some as young as five years old, forced to flee after their families were massacred or enslaved during the Second Sudanese Civil War. Wandering the equatorial wilderness between Sudan and Ethiopia for years on foot, those who survived starvation and disease eventually reached a refugee camp in Kakuma, Kenya, where over 3,000 of them awaited resettlement through a United Nations partnership with the U.S. State Department. Reed’s powerful series documents their journey as they leave the camp and adjust to life in the United States, acclimating to a starkly different culture and a new world of formidable challenges.

 

Additional photographs by Reed from his 1995 series Rwandan Refugees in Tanzania are on view as part of the exhibition Radical Transformation: Magnum Photos into the Digital Age.

 

Related content:

“Eli Reed: The Lost Boys of Sudan” exhibition opens today at the Ransom Center

In the Galleries: Jonas Bendiksen’s contact sheets

By Jessica McDonald

In 2012, Magnum introduced the sale of carefully reproduced contact sheets, offering “the opportunity to own a piece of Magnum’s history.” Indeed the digital turn in photography has forced the contact sheet, once an inextricable part of the photographic process, into obsolescence. Contact sheets, made when negatives are printed directly in contact with photographic paper, gave photographers a first look at their images and provided an important tool for editing. They also serve as artifacts, revealing how photographers approach a subject and work through time and space.

 

In a statement for the 2011 group publication Magnum: Contact Sheets, edited by International Center of Photography Curator Kristen Lubben, Jonas Bendiksen (b. 1977) marveled at his apparent hesitancy to “use up” too much film on any one scene. He recalled, “here we were in a cloud of white butterflies circling the remains of a Soyuz space rocket’s second stage, while local farm boys were gutting it for scrap metal. In total I shot less than half a roll of film. From the basic angle and composition from which I got the final selection, I clicked the shutter three times. That would not have happened today.”

 

Bendicksen’s contact sheet and final image are on view through January 5 in the Ransom Center’s exhibition Radical Transformation: Magnum Photos into the Digital Age.

 

Click on thumbnails to view larger images.

 

In the Galleries: Susan Meiselas

By Jessica McDonald

Susan Meiselas. “Nicaragua. Matagalpa. Muchachos await the counterattack by the National Guard.” 1978 © Susan Meiselas/Magnum Photos.
Susan Meiselas. “Nicaragua. Matagalpa. Muchachos await the counterattack by the National Guard.” 1978 © Susan Meiselas/Magnum Photos.

 

In a stunning break with the black-and-white tradition of war photography, Susan Meiselas’s pulsating color images documenting the resistance against—and ultimate insurrection of—the brutal Somoza dynasty in Nicaragua were published in magazines and newspapers around the world. The revolutionaries quickly appropriated her photographs, adapting them for billboards, postage stamps, posters, and other imagery in support of their cause. In 1981 Meiselas (b. 1948) published her landmark book Nicaragua, June 1978July 1979, combining photographs, historical documentation, and the personal testimony of Nicaraguans in an attempt to “overcome the sensational quality of fragmentary news reports by placing these events in the context of an evolving political process.” Retracing her steps, she returned to Nicaragua in 1991 for the film Pictures from a Revolution, and again in 2004 for the project Reframing History, an installation of 19 mural-size enlargements of her original photographs at the sites where they were first made, reigniting discussions about the past and reconsiderations of dreams once held of a better future.

 

For some Magnum photographers, picture stories published in magazines and newspapers represent just the first stage in the development of a much larger project. Some consider the book the ideal platform for extended visual narratives. Conceived independently and conducted outside the traditional framework of photojournalism, books have become a mainstay of documentary practice and an integral part of Magnum’s creative repertoire. Since the agency’s founding, Magnum Photos has published dozens of group projects, and its members have collectively produced over 1,000 volumes that together form both a history of Magnum and a history of the modern world.

 

Photographs from Meiselas’s project in Nicaragua are on view through January 5 in the Ransom Center’s exhibition Radical Transformation: Magnum Photos into the Digital Age. Meiselas will speak this weekend at the symposium “Magnum Photos into the Digital Age.”

In the Galleries: Josef Koudelka

By Jessica McDonald

Josef Koudelka. “Czechoslovakia. Slovakia. Michalovce.” 1966 © Josef Koudelka/Magnum Photos.
Josef Koudelka. “Czechoslovakia. Slovakia. Michalovce.” 1966 © Josef Koudelka/Magnum Photos.

 

Initially drawn to their traditional folk music, Josef Koudelka (b. 1939) photographed the nomadic Romani people—or Gypsies—of Czechoslovakia and Romania for nearly ten years. Most of the photographs in his seminal 1975 book Gypsies were taken in Eastern Slovakia between 1962 and 1968. In his sensitive study of these communities, Koudelka examined the remnants of a threatened way of life after government efforts to assimilate the Gypsies confined them to grim settlements lacking basic utilities or sanitation services. Something of a nomad himself and forced to seek political asylum after escaping the Czech Republic early in his career, Koudelka has often lived as his subjects do, fostering a shared experience and sense of respect that is discernible in his photographs.

 

In the Ransom Center’s exhibition Radical Transformation: Magnum Photos into the Digital Age, on view through January 5, this photograph is presented with four others from the series, as well as a copy of Koudelka’s book, one of several pioneering publications by Magnum photographers highlighted in the exhibition. There were few publishers for photography books during Magnum’s first decades, but when photography gradually gained widespread acceptance as an art form in the 1970s, publishing houses began to embrace the medium.  Photographers aspiring to use the book form to give a more sophisticated account of world events and personal journeys now had more models to guide them. These books employed complex sequencing and innovative combinations of images and text; they displayed a nuanced understanding of layout and design and a standard of printing quality not previously associated with works of reportage.

 

Koudelka will speak on a panel at the upcoming symposium “Magnum Photoso into the Digital Age.” The symposium takes place October 25–27.