It's a great time at the Carter for photography lovers. American Modern: Abbott, Evans, Bourke-White offers a fresh look at these three important documentarians and is the final show in our "Carter Gets Modern" series.
Walker Evans (1903-1975), Penny Picture Display, Savannah, 1936, Gelatin silver print, 1936.
Check out the galleries featuring the magnificent landscapes of Ansel Adams then step into the Masterworks of American Photography featuring over 25 talented American artists. Whether you like still lifes or portraits, formal or informal settings, large or small format, your wish will be fulfilled.
Don't forget that the Carter is always free thanks to the generosity of our members and sponsors!
Among the thousands of works on paper we've digitized with help from our two-year NEA grant is the Carter's complete set of the 291 magazine. Published in 1915-1916, the magazine started as publicity for Alfred Stieglitz's "291" gallery, but has become an important piece of art history itself.
The full run of 291 is pretty amazing, but the August 1915 issue is one of my favorite objects in the entire collection. This particular issue contains several so-called portraits mÃ©caniques of the 291 creators drawn by French artist Francis Picabia (1879-1953) in his pre-Dada and pre-Surrealist days. Hard to believe these "portraits" are nearly 100 years old!
The past few weeks have been perfect for eating outdoors - whether a picnic in the park or on a restaurant's patio. Here are three photographs from the Carter's collection documenting meals enjoyed outside.
Eliot Porter (1901-1990), Aline, Eliot, Jr. and Tony at Breakfast, 1937, gelatin silver print, Bequest of the artist, ©1990 Amon Carter Museum of American Art
Marion Post Wolcott (1910-1990), Winter Visitor Being Served Brunch in a Private Club, Palm Beach, Fla., 1940, gelatin silver print, 1980, Gift of Dr. John Wolcott
Russell Lee (1903-1986), Barbecue for Humble Employees, Humble Camp, McCamey, Texas. West Texas, 1947, gelatin silver print, Gift of Texas Monthly, Inc., printed from a negative in the Standard Oil of New Jersey Collection, University of Louisville Photographic Archives, © Standard Oil Company
In honor of the National Endowment for the Arts turning 45 this week, here are several prints from the Carter's collection created in 1965, the same year NEA was established.
And if you're wondering what the NEA actually does, keep reading. Last year, the Carter was awarded a large grant from the NEA to digitize its collection of prints, drawings, and watercolors. The images you see here (and in all "It Works on Paper" blog posts) have been created as part of this grant. Anytime you see a digital or printed reproduction of one of our prints, drawings, or watercolors on our website, used in an educational program, or a museum publication, know that the NEA helped make it possible!
Nicholas Krushenick (1929-1999), Untitled, lithograph, 1965, Gift of Ruth Carter Stevenson, © Julia Krushenick
Garo Antreasian (b. 1922), Ojo, lithograph, 1965, © Garo Z. Antreasian
Paul Brach (1924-2007), Silver Series, lithograph, 1965, © Miriam Schapiro
A hot Friday afternoon calls for some levity, so this week's photos are all about playing games.
Erwin E. Smith (1886-1947), Charley Thompson (left) and Ed Bomar (right) Having a Game of Seven-up, Turkey Track Ranch, Texas , gelatin silver print, 1906, Erwin E. Smith Collection of the Library of Congress on Deposit at the Amon Carter Museum, Fort Worth, Texas
Clara Sipprell (1885-1975), Education, gelatin silver print, ca. 1929
Berenice Abbott (1898-1991), East Side Portrait, 1938, gelatin silver print, 1978-1979, Gift of P/K Associates, New York, New York, © Commerce Graphics Ltd, Inc.
Wendy Watriss (b. 1943), Saturday Night, gelatin silver print, 1984, Gift of the Texas Historical Foundation with support from a major grant from the DuPont Company and Conoco, its energy subsidiary, and assistance from the Texas Commission on the Arts and the National Endowment for the Arts, © 1984 Wendy V. Watriss
Amid all the political news this week, we also caught a glimpse of next spring's styles featured at New York Fashion Week. Here are three prints from the Carter's works on paper collection that all make their own statement about fashion.
J.J. Grandville (1803-1847), La Revanche, ou les franÃ§ais au Missouri. [The Revenge, or The French in Missouri] from La Silhouette, lithograph with applied watercolor, 1830, Gift of The Old Print Gallery, Inc.
Mabel Dwight (1876-1955), Hat Sale - $1.98, lithograph, 1928
Peggy Bacon (1895-1987), Vanity, lithograph, 1929, © Estate of Peggy Bacon courtesy of Kraushaar Galleries
D Magazine's Fall Visual Arts Preview highlights the Carter's three concurrent photography exhibitions this season: American Modern: Abbott, Evans, Bourke-White, Ansel Adams: Eloquent Light, and Masterworks of American Photography, an exhibition of various American photographers from the Carter's permanent collection.
Check out my three personal favorite photographs from the Carter's Masterworks show, and then go check out D's fall art preview.
Alexandre Jonson, Untitled, dye imbibition print, ca. 1948, Gift of Douglas Hill
Ed Ruscha (b. 1937), Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, gelatin silver print, 1962, ©1962 Ed Ruscha
Paul A. Greenberg (b. 1935), Swimmer, New York, gelatin silver print, 1982, ©1982 Paul A. Greenberg, Gift of Paul Brauchle, Dallas, Texas
We apologize for the inconvenience, but our public program Crafting from the Collection, scheduled for Thursday, September 9, has been canceled. Never fear, we are looking to reschedule Vickie Howell to lead the program later this fall. Continue to visit our calendar for updated program information.
Today the library added the newest "new" book report to the site. This report details everything the library cataloged in August 2010. Find the report here:
I want to call your attention to a standout title:
TR283 .S53 (Main Stacks)
Shanebrook, Robert L.
Making KODAK film : the illustrated story of state-of-the-art photographic film manufacturing / Robert L. Shanebrook.
Rochester, NY : R.L. Shanebrook, Robert Shanebrook Photography, c2010.
As the preface states, "this book documents how Eastman Kodak Company made film during time period 2007-2010 when the technology had reached its height." Mr. Shanebrook lifts the "silver curtain," an appropriate term which refers to the shroud of secrecy protecting Kodak "silver-based" technologies, to take us on a rare and fascinating behind-the-scenes journey into the technical film manufacturing and research environment at Kodak. The author also provides us with a useful primer on how traditional film photography works. As the imaging industry continues to speed toward digital photography, it's a great time to learn about the important contributions that Kodak has made to film-based photography.
As of today, WorldCat.org reports that the Amon Carter and George Eastman House in Rochester, NY, hold the only institutional copies of this book.