Tracy Bonfitto has joined the Ransom Center as the new curator of art. She has worked at the Getty Research Institute, the Fowler Museum at UCLA, and the Los Angeles County Museum of Art. She was previously a lecturer in the Art History Department at UCLA. [Read more…] about Meet the Staff: An interview with new Curator of Art Tracy Bonfitto
The Harry Ransom Center at The University of Texas at Austin has appointed a new curator of art who will focus on improving the Ransom Center’s ability to support students, scholars and the public through the interpretation of its rich art holdings. [Read more…] about New Curator of Art appointed
The Harry Ransom Center at The University of Texas at Austin announces its appointment of Aaron T. Pratt as Carl and Lily Pforzheimer Curator of Early Books and Manuscripts. Pratt, who begins May 30, will provide curatorial support for the Ransom Center’s early book and manuscript holdings and participate in a variety of activities that promote their teaching and research use. [Read more…] about Harry Ransom Center appoints curator of early books and manuscripts
Aaron T. Pratt has joined the Ransom Center as our new Carl and Lily Pforzheimer Curator of Early Books and Manuscripts.
Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Jean Cannon has been the literary collections research associate at the Ransom Center since March 2012. She holds a Bachelor’s degree from Duke University, a Master’s degree from Tulane University, and a PhD from The University of Texas at Austin. Cannon is responsible for helping patrons in the reading room, answering research queries, and curating exhibitions. She spent the last two years working with colleague Elizabeth Garver to co-curate the current exhibition, The World at War: 1914–1918.
What’s your favorite thing about working at the Ransom Center?
I love the moment when you see a student or researcher come across an artifact that really just makes their jaw drop, the “wow” moment.
Can you tell me more about curating the current World at War exhibition?
We started that process about two years ago. I did my dissertation research using several World War I collections at the Ransom Center, but even having done that, I had no idea just how much was here. I had worked in the literary collections, but we also have photographs and posters and all sorts of things that made it a very exciting treasure hunt throughout the building. It was a long process of researching and amassing material from the collections, and then the painful part was choosing the items and having to cut things out because you only have so much space in the gallery. We did a lot of what I like to call “dreaming and scheming.”
What is it like picking and choosing items for the exhibitions?
It’s exciting and can also be kind of chaotic. I think research on that large of a scale is a process of ducking down lots of different rabbit holes every day. Even if you try to be systematic about it, you will find yourself getting drawn to different items. For example, I went through about a month of being obsessed with carrier pigeons, and Elizabeth went through a month being obsessed with pilots.
Did carrier pigeons actually work?
Absolutely. On the western front, telephone lines would get blown up really easily with all the shelling on the western front, so carrier pigeons were actually more reliable. It was a strange meeting of the old world and the new, nineteenth-century and twentieth-century technologies co-existing on the battlefield.
If you could pick a favorite item in the Ransom Center’s collections, what would it be?
One item that really means a lot to me is Wilfred Owen’s last letter to his mother. That’s one of the most affecting of the letters that I’ve read here, and it’s in the gallery now, right in the middle of the show.
Can you tell me a little more about your educational background and how you ended up in your current job at the Ransom Center?
It’s a long, twisty tale. I started graduate school at Tulane in New Orleans, and the second year I was there, Hurricane Katrina hit. So I ended up evacuating and coming to UT because the university had a large enough program that they were able to absorb some of the Tulane students, for which I’m ever grateful. The wonderful thing about being here was being able to do the two-year graduate internship at the Ransom Center. I just fell in love with the place, and I continued volunteering and doing freelance research in the reading room. Then, as I was finishing my doctoral degree, the director at the time recruited me to come in and serve as literary collections research associate. So I defended my dissertation, took two weeks off to hike the Grand Canyon and then came back to start working here full time. It was a whirlwind!
I hear you are a talented hat maker. Can you tell me a little more about that?
Well, I’ve always loved hats and have always worn a lot of hats, even as a child. Then, when I was working in New York, I saw that there was a night class at Parson’ School of Design, so I just decided to take it! At that point I didn’t even know how to run a sewing machine, and I loved it even though I was really out of my depth. Since then, I’ve sought out classes here and there and found old millinery text books and manuals in the archives. My house is full of 50 or so hats.
What is a perfect Saturday for you?
I would probably go for a run on the Greenbelt, maybe go for a swim, read a good book on the porch (for which it has to be sunny, but not 100 degrees), work on a hat, and cook a nice dinner and have people over! Possibly a good film also, especially if it’s hot outside and I can go to the Paramount Summer Classics series.
What book would you consider a “must read” this summer?
I just finished reading Donna Tartt’s The Goldfinch. It will take you awhile, but it’s really worth it. She’s a big believer that a book can be escapist but also very smart, and I really love that combination.