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.
Today's post features four modern views of the coast from the Carter's collection of works on paper.
Arthur Wesley Dow (1857-1922), The Derelict, woodcut, 1916
Abraham Walkowitz (1878-1965), Coney Island, monotype, 1908
Henry J. Billings (1901-1985), Marine Elements, screen print, 1937
Ralston Crawford (1906-1978), Overseas Highway, lithograph, 1940, © Neelon Crawford
It's that time here in Fort Worth when, once again, the heat drives us indoors until sundown. It's that sense of relief from soaring temperatures and glaring sun that makes twilight my favorite time of day, especially during the summer.
Here are four interpretations of twilight in different media from the Carter's photography collection.
Michael H. Marvins (b.1941), Chisos Moonrise, ink jet print, 2008-2009, Gift of the artist, ©2008 Michael H. Marvins
Karl Struss (1886-1981), At the Window - Twlight, palladium print, 1921, ©1983 Amon Carter Museum of American Art
Edward Steichen (1879-1973), Road into the Valley -- Moonrise, hand-toned photogravure, 1906
Luther Smith (b.1950), Trinity River at Northside Drive, Fort Worth, Texas, December 1, 1987 from the series Trinity River, gelatin silver print, 1987, Gift of Dale A. Ellison, © 1987 Luther Smith
You may notice one of the Carter's 19th century paintings missing from the galleries - Charles Deas's Indian Group is now on view in the exhibition Charles Deas & 1840s America at the Denver Art Museum. It also shows up in the New York Times's coverage of the show: article here and slideshow here.
Charles Deas (1818-1867), Indian Group, oil on canvas, 1845
Charles Deas & 1840s America will be on view in Denver through November 28.