As we prepare to celebrate the Fourth of July this weekend, I was thinking about how the Bill of Rights impacts our lives each day and how artists in the Carter’s collection have visually represented the amendments' intersection with our lives.
The First Amendment grants the freedom of worship”¦
Georgia O’Keeffe (1887--1986), Ranchos Church, New Mexico, 1930–31, oil on canvas, Amon Carter Museum, Fort Worth, Texas, 1971.16
The freedom of speech”¦
Ben Shahn (1898--1969), Martin Luther King, 1965, ink and ink wash on paper, Amon Carter Museum, Fort Worth, Texas, 1967.197
The freedom of the press”¦
After Richard Caton Woodville (1825--1856), engraved by Alfred Jones (1819--1900), Mexican News, 1853, hand colored engraving and etching with stipple, Amon Carter Museum, Fort Worth, Texas, 1972.3
And the freedom of assembly (among others).
Laura Gilpin (1891--1979), The Navaho Council Room Window Rock, [Arizona], 1951, gelatin silver print, © 1979 Amon Carter Museum, Fort Worth, Texas, bequest of the artist, P1979.128.187
Can you think of additional works in the Carter’s collection that reflect our other rights? Share them with us by posting a comment below, and have a wonderful holiday!
Childe Hassam (1859-1935), Flags on the Waldorf, 1916, Oil on canvas, 1985.301
Frederick T. Stockdorf, [Party Group], 1897, Gelatin silver print, P1976.4.5
Laura Gilpin (1891-1979), Navaho Family, 1950, Gelatin silver print, © 1979 Amon Carter Museum, Bequest of the artist, P1979.95.15
William Merritt Chase (1849–1916), Idle Hours, ca. 1894, oil on canvas, 1982.1
Laura Gilpin, (1891–1979), [Summer Carnival] [Colorado Springs, Colorado], June 1941, Gelatin silver print, © 1979 Amon Carter Museum, Bequest of the artist, P1979.102.27
Keith Carter (b.1948), Fireflies, 1992, Gelatin silver print, ©1992 Keith Carter, P2000.4
Have a wonderful summer!
Today we honor the men and women who have given their lives to ensure our freedom. One day out of a year seems hardly fitting for such a sacrifice, including those made by the families of the fallen.
Here are two works from our collection that speak to the human experience of separation and loss.
George Bellows (1882–1925),
Prepare, America!, 1916
Amon Carter Museum, Fort Worth, Texas,
Albert E. Schaaf (1866–1950)
Armistice Morning--Fifth Avenue, 1918
Amon Carter Museum, Fort Worth, Texas
Although Armistice Day and Memorial Day are two different occasions, this work is one that resonates with everyone who has lost someone to war.
To honor military personnel, the Carter is pleased to participate in the 2010 Blue Star Museums Program. Participating institutions offer free admission to active military families all summer in a new partnership with the National Endowment for the Arts. Since admission is always free to the Carter’s permanent collection and special exhibitions of American art, members of the military will receive a complimentary souvenir collection catalogue during their visit to the Carter between Memorial Day and Labor Day. To receive your catalogue, simply present your military ID to a Visitor Services Representative at the museum’s Information Desk. For more information, including other participating institutions, click here.
Send yourself - and your baby - to the Carter for a time out and learn something interesting about the art in our collection. No sitting in the corner this Friday, just opportunities to discuss art and life-in-general with your fellow new parents.
Laura Gilpin (1891–1979)
Navaho Twins [Edith's Babies] [Near Betatakin, Arizona], September 1953
Gelatine silver print
© 1979 Amon Carter Museum, Bequest of the artist
Don’t forget that free parking is still available in the museum’s parking lot off of Camp Bowie. To access the museum with your stroller, please come to the elevator next to the loading dock on the north side of the museum. Someone will be there to assist you and bring you into the museum.
Call 817.989.5030 or e-mail firstname.lastname@example.org with questions about this or any program at the Carter.
Deep in my heart I’m a nerd. I love to watch science shows, even when I’m not exactly sure what is being discussed. This Saturday presents the perfect public program for my science-geek side and my inner-librarian, with beautiful art on view as a juicy bonus.
Cyntia Karnes, senior paper conservator at the Library of Congress, will offer insight into the art of John Marin, an artist from our permanent collection and part of our special exhibition American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art. Ms. Karnes has completed a technical examination of Marin’s watercolors and will share her views on the influences on Marin’s work.
Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 or e-mail email@example.com to register.
John Marin (1870–1953)
Movement No. 3, Related to Downtown New York, 1926
Opaque and transparent watercolor over charcoal on thick wove paper
© Estate of John Marin/ Artist Rights Society (ARS)
Wadsworth Atheneum Museum of Art, Hartford, CT; Gift of James L. Goodwin and Henry Sage Goodwin from the Estate of Philip L. Goodwin, 1958.229
No matter what your age”¦
Artist Unknown , Laura Gilpin, Receiving an Honorary Ph. D. Colorado College, ca. 1970’s, Dye coupler print (Type C), Bequest of Laura Gilpin
or where you go to school”¦
Skeet McAuley, Hogan-Shaped Administration Building, Navajo Community College, Tsaile, Arizona, 1984, Dye destruction print
Congratulations to all graduates!
A few weeks ago I attended the annual conference of the National Art Education Association in Baltimore, where the theme was Art and Social Justice. I must admit that I rarely pay attention to a conference’s theme, but this year was different because social justice is one of my personal passions. Carter educator Sara Klein and I had the opportunity to showcase the Carter’s accessible programs and programs for non-traditional audiences through sessions presented to museum educators across the country, and we gained inspiration by viewing the amazing artworks at the American Visionary Art Museum, which was founded on the principle that art and social justice are inextricably linked.
As an American art museum, I believe that we are perfectly suited to making social justice a priority. Our education programs at the Carter often serve to promote social justice (for example, by making our collection accessible to as many audiences as possible) or feature a social justice theme (like educator workshops centered on immigration). Likewise, many artists in our collection have created poignant visual responses to important social issues. Here are some of the works that strongly resonate with me:
Lewis Hine (1874--1940), Looking for Lost Baggage, Ellis Island, 1905, gelatin silver print, P1981.80.1
Robert Glenn Ketchum (b. 1947), CVNRA, #125 (a toxic waterfall in a national recreation area), 1986, from the project "Overlooked in America: The Success and Failure of Federal Land Management," dye destruction print, gift of Advocacy Arts Foundation, ©1986 Robert Glenn Ketchum, P1996.22.3
Reginald Marsh (1898--1954), Bread Line---No One Has Starved, 1932, etching, 1983.83
James Karales (1930--2002), Passive Resistance Training, SNCC, 1960, gelatin silver print, © Monica Karales, P2008.18
Social justice is often achieved through dialogue. Make your voice heard about museums and social justice by posting a comment below.