This week's photo is from the Carter's exhibition, Ansel Adams: Eloquent Light, which closes this week. Sunday is your last chance to see this (and many other) Ansel Adams photographs in person!
Ansel Adams (1902–1984), Leaf, Glacier Bay National Monument, Alaska, gelatin silver print , ca. 1948, ©2010 The Ansel Adams Publishing Rights Trust
Although I haven't readied my costume for Halloween I believe I will have to search far and wide to find something that will be as great as the folks in these works from our photography collection.
Edward Weston, The Goldfish (Yvonne Verlaine), Platinum print, 1916
This photograph was featured in the spring, but it's worth a second look. I hope my costume has as much panache.
Karl Struss, [Johannes Sembach in costume standing beside lake], autochrome, ca. 1918
The Rangers have gotten lots of support from the local arts community this week. The Star-T even picked up on the conversation. We want you to join the conversation now! Post your most artful tweet suggestions in support of the Rangers, and we will be tweeting your responses this afternoon.
Since everyone seems focused on a certain local team, here are some nearly 100-year-old glass plate negatives depicting another local team, shot by "cowboy photographer" Erwin E. Smith (1886-1947). All three images show the Bonham Blues baseball team in action, ca. 1911-1915.
Bequest of Mary Alice Pettis
Bequest of Mary Alice Pettis
Erwin E. Smith Collection of the Library of Congress on Deposit at the Amon Carter Museum of American Art, Fort Worth, Texas
Getting in the spirit of things, I could show you pictures of old-timey baseball players, but right now we're focusing on the ANTLER:
Arthur Fitzwilliam Tait (1819-1905), The Life of a Hunter. "Catching a Tartar"., lithograph with applied watercolor, 1861
and THE CLAW:
John James Audubon (1785-1851), The Bird of Washington, or Great American Sea Eagle. Falco washingtoniensis Male, engraving and aquatint with applied watercolor, 1827
And those old-timey baseball players? The subject of our next post.
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