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

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
Lithograph
Amon Carter Museum, Fort Worth, Texas,
1985.202

Albert E. Schaaf (1866–1950)
Armistice Morning--Fifth Avenue, 1918
Bromoil print
Amon Carter Museum, Fort Worth, Texas
P1986.34

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.

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 education@cartermuseum.org 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

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.