National Museum Day is this Saturday, September 26. We're celebrating here at the Carter by participating in the 3rd annual Day in the District. Seven institutions in the Fort Worth Cultural District - the Carter, Kimbell, Modern, Cowgirl, Community Arts Center, Log Cabin Village, and Botanic Garden - will be open all day Saturday with free admission and special programs (of course, admission to the Carter is ALWAYS free!).
This Photo of the Week features works that are currently on display in our exhibitions <a href="http://www.cartermuseum.org/exhibitions/circle-of-friends-portraits-of-artists>Circle of Friends: Portraits of Artists and Masterworks of American Photography: Moments in Time. If you come out for Day in the District, be sure to make your way to the photography galleries to see these works in person.
Margaret Watkins, Self-portrait, gaslight chloride print, 1919, © Mr. Joseph Mulholland
Watkins was a student of pictorialist photographer Clarence H. White, along with other notables like Margaret Bourke-White, Paul Outerbridge, Max Weber, Dorothea Lange, and Laura Gilpin.
Karl Struss, Bebe Daniels, gelatin silver print, 1919, © 1983 Amon Carter Museum
Part of the permanent photography collection, the Carter's Karl Struss archive includes over 1500 photographs taken on the sets of silent movies by this photographer and Academy-award winning cinematographer. <a href="http://en.wikipedia.org/wiki/Clarence_Hudson_White>Bebe Daniels, originally from Dallas, was an extremely prolific actress who appeared in over 230 movies throughout her long career.
Joel Sternfeld, March 4, 2007, The East Meadows, Northampton, Massachusetts, dye coupler print, 2007, © 2007 Joel Sternfeld, Purchase with the assistance of the Stieglitz Circle of the Amon Carter Museum
This is an important new addition to the Carter's photography collection that has only been here a few months. It depicts a particular field in Massachusetts painted in the 19th century by Hudson River School painter Thomas Cole. If you look at the photo very closely - as in, standing right in front of it - you can see the building where Cole painted this landscape over 170 years ago.