You have reached your limit of free articles this month.

Enjoy unlimited access to myStatesman.com

Starting at just 99¢ for 8 weeks.

GREAT REASONS TO SUBSCRIBE TODAY!

  • IN-DEPTH REPORTING
  • INTERACTIVE STORYTELLING
  • NEW TOPICS & COVERAGE
  • ePAPER
X

You have read of premium articles.

Get unlimited access to all of our breaking news, in-depth coverage and bonus content- exclusively for subscribers. Starting at just 99¢ for 8 weeks

X

Welcome to myStatesman.com

This subscriber-only site gives you exclusive access to breaking news, in-depth coverage, exclusive interactives and bonus content.

You can read free articles of your choice a month that are only available on myStatesman.com.

Van Ryzin: Archives inform modern photographers’ work in Ransom Center exhibit


Jason Reed explains it as a moment of profound artistic connection that happened by coincidence — in an archive.

A fine-art photographer, a third-generation West Texan, Reed, 33, had been plumbing the collections at the University of Texas’ Ransom Center, delving into the center’s staggering archive of more than 5 million photographs in order to peruse the work of those who came before him and also trained their lens on the landscape of the Texas-Mexico border region.

While he waited for research staff to fetch a box of Depression-era images by Walker Evans, Reed spied a set of three-ring binders on a shelf in the Ransom Center reading room. The binders held pages and pages of captions describing more than 9,000 photographs by W. D. Smithers, a now often-overlooked photographer who spent the 1910s through the 1950s capturing life and scenes along the border.

Reed had never encountered Smithers’ work before. When Reed explored it, he found something remarkable: Smithers’ 1922 image of Study Butte near the West Texas town of Terlingua, a photograph that nearly mirrored a 2011 image of Terlingua that Reed had made.

“The discovery was stunning,” says Reed who teaches at Texas State University. “I grew up in West Texas, I spend all my time photographing it. Smithers and I are basically working on the same thing, just 80 years apart. And we essentially took the same picture.”

That kind of artistic connection and coincidence is the basis of an intriguing exhibit, “Contemporary Photographic Practice and the Archive” at the Ransom Center through Aug. 4.

Reed and eight other members of Lakes Were Rivers, an Austin-based photographers collective, paired their photographic artwork with material they each culled from the center’s vast holdings, making surprising connections between historical items and contemporary art.

The members of Lakes Were Rivers (the group takes its name from the fact that all Texas lakes save one, Caddo Lake, were formed from dammed-up rivers) all have individual artistic careers, but collaborate to organize exhibits and publish limited-edition books.

“You can complain or you can create your own scene and make your own place for your work,” says member Elizabeth Chiles, a lecturer in art theory at UT.

Each Lakes Were Rivers member was drawn to the Ransom Center’s photography collection — widely recognized as one of the best in the world — for individual creative reasons. But the center’s ownership of an 1826 heliograph made by Joseph Nicéphore Niépce, and widely considered the world’s first photograph, had an undeniable pull.

“We love the history of the archive,” says Barry Stone, who along with Reed and Chiles will be giving a free tour of the exhibit at 7 p.m. Thursday.

“There’s a through-line you can see — a continuum of how photography developed in this slippery spot that’s somewhere between art and science.”

The current exhibit represents a milestone for the Ransom Center. It’s the first time the renowned library and archive has invited artists to organize an exhibit.

And the result is illuminating on many levels.

Not only do the Lakes Were Rivers photographers cull images that resonate with their own work, the nine midcareer artists all manage to reveal the idiosyncrasies that turn up in exploring an archive as massive as the Ransom Center’s.

Each contemporary artist has a separate section of the gallery, the well laid-out exhibit divided into nine parts. Reed, Chiles and Stone are joined by Leigh Brodie, Anna Krachey, Jessica Mallios, Sarah Murphy, Mike Osborne, Ben Ruggiero, Adam Schreiber and Susan Shahan. (The exhibit starts with six historical photographs of rivers and lakes, a clever preface of sorts.)

Not surprisingly, many of the Lakes Were Rivers crew selected the work of photographic luminaries and pioneers such Man Ray, Ansel Adams, Henry Peach Robinson, Arnold Newman and Eadweard Muybridge, among others.

But they also mind the archive for some surprising finds, evidence of how an archive can inspire and intrigue.

There’s a manuscript of Maurice Ravel’s score for the ballet “Daphnis et Chloë,” moon images made by robotic NASA cameras, an early X-ray, a 1873 album of photos of an arctic expedition.

Reed not only paired his photographs with Smithers’ photographs but with some of Smithers’ personal effects: books on West Texas flora, a lamp in the shape of a covered wagon, one of Smithers’ cameras.

Chiles mined the papers of 19th-century astronomer and early photographic experimenter John Herschel. She also pulled hand-colored etchings made by Romantic poet William Blake and the whimsically illustrated pages from the notebooks of poet E.E. Cummings.

Stone — who manipulates his digital landscape images by randomly rearranging a file’s digital code — selected Alvin Langdon Coburn’s 1917 “Vortograph” photo, a early experiment in modernist abstraction that seems to be a multidimensional image.

And yet to begin his section of the exhibit, Stone selected a 15th-century broadside illustration of a cluster of grapes that appear to have beardlike growth dangling from them, actually a kind of fungus.

It’s a somewhat odd, fantastical and anachronistic image for a contemporary artist to chose.

Or perhaps not. As Stone points out, that’s the beauty and the revelation that arises from delving into centuries of visual material: That you and your artistic colleagues are part of greater trajectory.

“I take comfort in knowing what I do is all part of some continuing (visual) language.”



Reader Comments ...


Next Up in Austin360

5 wines for the week
5 wines for the week

This week, take a virtual trip to Australia with three outstanding wines that represent that country's new voice in wine. And fans of "natural" wines - or anyone curious about wines without sulfur added as preservative - will want to seek out two delicious examples from France. Three stars. Tasmania, Australia, $60 It's priced like a high-end...
McDonald’s offers diners ancient road on the side
McDonald’s offers diners ancient road on the side

It’s a common enough story in Italy: An ancient ruin — in this case, a tract of Roman road — is discovered during the construction of a building — in this case, a McDonald’s — and puts a halt to the work until the site can be excavated. Rather than fret about lost time and money, McDonald’s decided to sponsor...
Celebrate music legends, beer and bourbon this weekend
Celebrate music legends, beer and bourbon this weekend

Music Johnny Cash’s 85th Birthday Bash at Mean Eyed Cat. Live music from Band in Black will serenade this celebration of Mean Eyed Cat’s favorite musician, who would have celebrated his birthday on Feb. 26. There will also be beer and drink specials, $5 Mean Nachos and Stubb’s concert ticket giveaways. 7 to 11 p.m. Saturday. Free...
More things to do, Feb. 25
More things to do, Feb. 25

Art “Kindred Spirits.” In this two-person exhibition of paintings at Davis Gallery, David Leonard and Daniel Blagg consider our changing world through their work, Leonard with his detailed depictions of modern American cityscapes and Blagg with a look at the decay of American architecture. Both artists ask through their work if the modifications...
An Oscars party, comedy hour and film night offer free fun this week
An Oscars party, comedy hour and film night offer free fun this week

Sunday Haymaker’s 4th Annual Oscars Party. Haymaker will throw its own red carpet hour starting at 5:30 p.m. with prizes for best dressed. There will also be Oscar’s trivia and bingo, with prizes for each, as well as drink specials and more. 5 to 11 p.m. 2310 Manor Road. facebook.com/events/1831420577129463/. Monday Monday Movie Night at...
More Stories