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Andrew W. Mellon Foundation

Award supports digitization of more than 24,000 images from the Gabriel García Márquez archive

January 4, 2016 - Jennifer Tisdale

An album labeled "Un viaje de Xochimilco," opened to photographs of Gabriel García Márquez with author Carlos Fuentes and others, undated. Photographs by Fabrizio Leon.

The Council on Library and Information Resources (CLIR) has granted the Harry Ransom Center a 2015 Digitizing Hidden Special Collections and Archives award to digitize more than 24,000 pages from the Gabriel García Márquez archive. [Read more…] about Award supports digitization of more than 24,000 images from the Gabriel García Márquez archive

Filed Under: Digital Collections Tagged With: Andrew W. Mellon Foundation, CLIR, CLIR Garcia Marquez, Council on Library and Information Resources, Gabo, Gabriel Garcia Marquez, Gabriel Garcia Marquez archive, Mirador Image Viewer

Ransom Center to host more than 80 scholars in fellowship program’s 25th year

May 9, 2014 - Bridget Ground

Cover of Eric Gill's Twenty-five Nudes (1938; reprint, London: J. M. Dent & Sons Ltd., 1951); James Salter's notes on possible titles for his novel Light Years, ca. 1974–5; cover of Paul Hayden Duensing's 25: a quarter-century of triumphs and disasters in the microcosm of the Private Press & Typefoundry of Paul Hayden Duensing (Kalamazoo, Mich.: The Private Press and Typefoundry of Paul Hayden Duensing, 1976); signaled message from the Royal Air Force to John Pudney requesting a poem for the organization's 25th anniversary, March 24, 1943; photograph of 25th Street Theater, Waco, ca. 1962.

The Ransom Center will support more than 80 research fellows for 2014–2015, the 25th anniversary of the fellowship program. Since the program’s inception, the Center has awarded fellowships to more than 900 scholars from around the world.

The fellowships support research projects in the humanities that require substantial on-site use of the Center’s collections of manuscripts, rare books, film, photography, art, and performing arts materials.

The 2014–2015 fellowship recipients, more than half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “J. M. Coetzee and the Idea of the Literary,” “Imagined Heartlands: Post-Postmodern Literature and the American Midwest,” “The Films of Powell and Pressburger,” “Norman Hall: Photo-Editing and International Connections in Mid-Twentieth Century Photography,” and “Dawn of a New Day: New York City Between the Fairs.”

The fellowships range from one to three months in duration and provide $3,000 of support per month. Travel stipends and dissertation fellowships are also awarded.

The stipends are funded by individual donors and organizations, including the Andrew W. Mellon Foundation, the Creekmore and Adele Fath Charitable Foundation, the American Society for Eighteenth-Century Studies, and The University of Texas at Austin’s Office of Graduate Studies, Schusterman Center for Jewish Studies, and program in British Studies.

The Ransom Center will host eight additional scholars in collaboration with the Arts and Humanities Research Council (AHRC) International Placement Scheme (IPS). This program, funded and administered by the U.K.-based AHRC, offers early-career researchers and AHRC-funded doctoral students from U.K. universities the opportunity to enhance their research with a fellowship at one of its six participating host institutions.

Image: Cover of Eric Gill’s Twenty-five Nudes (1938; reprint, London: J. M. Dent & Sons Ltd., 1951); James Salter’s notes on possible titles for his novel Light Years, ca. 1974–5; cover of Paul Hayden Duensing’s 25: a quarter-century of triumphs and disasters in the microcosm of the Private Press & Typefoundry of Paul Hayden Duensing (Kalamazoo, Mich.: The Private Press and Typefoundry of Paul Hayden Duensing, 1976); signaled message from the Royal Air Force to John Pudney requesting a poem for the organization’s 25th anniversary, March 24, 1943; photograph of 25th Street Theater, Waco, ca. 1962.

Filed Under: Research + Teaching Tagged With: American Society for Eighteenth-Century Studies, Andrew W. Mellon Foundation, Arts and Humanities Research Council, British Studies, Creekmore and Adele Fath Charitable Foundation, Emeric Pressburger, Fellowships, J. M. Coetzee, Michael Powell, Norman Hall, Schusterman Center for Jewish Studies, The University of Texas at Austin’s Office of Graduate Studies

War photography exhibition showcases images from the Ransom Center’s photography collection

January 16, 2014 - Natalie Zelt

Unknown photographer. “Insurgents in Coffins, Paris,” 1871. Albumen print.

Back in November the exhibition WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath opened at its fourth and final venue, the Brooklyn Museum. This exhibition, which I curated with Anne Tucker and Will Michels in my former role in the photography department at the Museum of Fine Arts, Houston, featured over 400 photographic objects dating from 1848 to 2012, including a number of photographs from the Harry Ransom Center’s collections. Our curatorial mission was neither to tell a history of war illustrated by photography nor to present a series on singular photographers. Instead, we hoped to bring together a selection of objects that highlighted the intersections between war and photography.

 

Photographs from the Ransom Center collections were included throughout the exhibition, enriching the thematic sections that explored daily routine, shell shock, and dissemination, as well as battlefield burial and death.  The Gernsheim collection yielded a chilling 1871 print of communards in coffins, an image likely used to discourage further unrest in the streets of Paris, as well as Roger Fenton’s iconic and controversial 1855 photograph The Valley of the Shadow of Death from the Crimean War.

 

A Ransom Center fellowship funded by the Andrew W. Mellon Foundation Research Fellowship Endowment enabled curator Anne Tucker to spend weeks going through box after box of the Ransom Center’s prints, lantern slides, and stereographs. While in the reading room, she could compare the croppings of multiple photographs of Captain Ike Fenton and the U.S. Marines during the Korean War by David Douglas Duncan and share her findings. She also surveyed the collection of prints made at the height of the civil war in El Salvador by 30 international photographers, including Donna DeCesare and Harry Mattison.

 

The New York Journal- American photo morgue provided one of my favorite photographs in the exhibition. It is a small print from 1918 of a carrier pigeon being released from a tank on the Western Front. The image itself references one of the means of communication (pigeon transport) that is often associated with World War I, but it is also important as a photographic object because it carries the marks and highlights of an editor’s pencil, readying the print for reproduction and the image for dissemination.

 

Please click on the thumbnails below to view larger images.

 

David McLellan. “Releasing Carrier Pigeon from Tank, Western Front,” August 1918. Gelatin silver print.
David McLellan. “Releasing Carrier Pigeon from Tank, Western Front,” August 1918. Gelatin silver print.
Roger Fenton. “The Valley of the Shadow of Death,” 1855. Salted paper print from a paper negative.
Roger Fenton. “The Valley of the Shadow of Death,” 1855. Salted paper print from a paper negative.
Felice Beato. “Gallows on which two of the King of Delhi’s sons were hanged for having taken part in the murder of the English resident at Delhi at the commencement of the mutiny, India,” May 1857. From the album “Photographic views, Crimea, India &c.” Albumen print.
Felice Beato. “Gallows on which two of the King of Delhi’s sons were hanged for having taken part in the murder of the English resident at Delhi at the commencement of the mutiny, India,” May 1857. From the album “Photographic views, Crimea, India &c.” Albumen print.
David Douglas Duncan. “Corporal machine-gunner Leonard Hayworth upon learning there were no more grenades, ammunition from his machine-gun reinforcements to take the place of the wounded and dead or communication from the rear, Korea,” September 1950. Gelatin silver print.
David Douglas Duncan. “Corporal machine-gunner Leonard Hayworth upon learning there were no more grenades, ammunition from his machine-gun reinforcements to take the place of the wounded and dead or communication from the rear, Korea,” September 1950. Gelatin silver print.
David Douglas Duncan. “Captain Ike Fenton, Commanding Officer of Baker Company, 1st Battalion, 5th Marine Regiment, 1st Provisional Marine Brigade, receives reports of dwindling supplies during the battle to secure No-Name Ridge along the Naktong River, Korea,” September 1950. Gelatin silver print.
David Douglas Duncan. “Captain Ike Fenton, Commanding Officer of Baker Company, 1st Battalion, 5th Marine Regiment, 1st Provisional Marine Brigade, receives reports of dwindling supplies during the battle to secure No-Name Ridge along the Naktong River, Korea,” September 1950. Gelatin silver print.
James (Jimmy) H. Hare “Men carrying wood to a pyre in the fields near Lioyang where five dead are laid out,” ca. 1904–1905. Lantern slide.
James (Jimmy) H. Hare “Men carrying wood to a pyre in the fields near Lioyang where five dead are laid out,” ca. 1904–1905. Lantern slide.
James (Jimmy) H. Hare. “Taking a bath at twelve below zero in December along the Sha O River,” c. 1904–1905. Gelatin silver print.
James (Jimmy) H. Hare. “Taking a bath at twelve below zero in December along the Sha O River,” c. 1904–1905. Gelatin silver print.
Unknown photographer. “Insurgents in Coffins, Paris,” 1871. Albumen print.
Unknown photographer. “Insurgents in Coffins, Paris,” 1871. Albumen print.
Roger Fenton. “L’Entente Cordiale,” February 29, 1856. Salted paper print.
Roger Fenton. “L’Entente Cordiale,” February 29, 1856. Salted paper print.
Harry Mattison. “Nuns Leaving the cathedral after the funeral of Archbishop Romero,” March 30, 1980. Gelatin silver print.
Harry Mattison. “Nuns Leaving the cathedral after the funeral of Archbishop Romero,” March 30, 1980. Gelatin silver print.
Timothy O’Sullivan. “A Harvest of Death,” July 4, 1863. Albumen silver print.
Timothy O’Sullivan. “A Harvest of Death,” July 4, 1863. Albumen silver print.

Filed Under: Exhibitions + Events, Photography, Research + Teaching Tagged With: Andrew W. Mellon Foundation, Anne Tucker, Brooklyn Museum, Captain Ike Fenton, David Douglas Duncan, Donna DeCesare, Harry Mattison, Korean War, Museum of Fine Arts Houston, New York Journal-American, Photography, Roger Fenton, The Valley of the Shadow of Death, war photography, Will Michels, World War I

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