I have fallen a week behind! Last week was the meeting of our museum’s board of trustees, so perhaps that explains why.
Our most recent acquisitions were presented during that board meeting. One notable addition to the museum’s collection is Larry Sultan’s large-scale photograph Novato, from his series Homeland, which focused on the landscape near his home in Corte Madera, California.
Larry Sultan (1946–2009), Novato, 2009, dye coupler print, Purchase with funds provided by the Stieglitz Circle of the Amon Carter Museum of American Art, courtesy of Estate of Larry Sultan/Wirtz Gallery
This important series was the last the artist completed before his untimely death in 2009 from cancer. Sultan hired day laborers to pose as actors in a semi-uncultivated landscape that abuts the edge of a housing community. The multiple layers of meaning in this work are riveting, but what struck me when I saw it in San Francisco for the first time was its pastoral qualities. It reminded me of another work in the Amon Carter’s collection: Thomas Cole’s The Hunter’s Return, painted in 1845.
Thomas Cole (1801–1848), The Hunter's Return, 1845, oil on canvas
The settled landscape emerging out of the “wilderness” in both works is one point of intersection, but I would be interested to know what you think. What points of similarity or difference do you see? Write me in the comments section, and I will respond. And if you would like to see the Sultan work, stay tuned. I will let you know in my next blog when the opportunity will be available to you.