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.
Happy First-Day-of-School to all the students in the Fort Worth/Dallas area. I can smell the newly sharpened #2 pencils and clean notebook paper from here.
Laura Gilpin (1891-1979); Classroom at the Crystal School Navaho Teacher Ester Henderson; Sep. 1954; Gelatin silver print; ©Amon Carter Museum of American Art, 1979, Bequest of the artist.
Laura Gilpin (1891-1979); [Fountain Valley School - class]; ca. 1932; Gelatin silver print; ©Amon Carter Museum of American Art
Artist Unknown; [School Portrait]; ca. 1911; Gelatin silver print
The Romans coined this phrase for the period during the summer when the Sirius, the Dog Star, would be close to the sun and cause the hot weather. My dog just wants to lay around and drink water which is sage advice for all who have to be outdoors right now.
Jose Guadalupe Posada (1852-1913); [Crowd with large dog]; Relief print
A. Allen; Goldfield's Lightning Express in the Early Days, 1901-1906; Trichromatic halftone
Nell Dorr; [John Dorr holding stick while dog jumps at it]; 1925-1970s; Gelatin silver print; Gift of the Estate of Nell Dorr; ©Nell Dorr
For all you fans of the Double Rainbow internet meme. This watercolor from the Carter's works on paper collection proves that we were asking what does it mean even in the 1820s.
William Constable (1783-1861), The Great Falls of the Mohawk, watercolor and graphite on paper, ca. 1825-1830, Gift of Mr. J. A. Curran
With a new school year rapidly approaching, there are just a few days left this summer for that all-American vacation, the road trip.
Here are four photographs from the Carter's permanent collection, all taken from the road.
Terry Falke (b. 1950), Roadside Sunset, Northern Arizona, dye coupler print, 1995, Gift of Dominic Lam, ©1995 Terry Falke
Peter Brown (b. 1948), Cake Palace, Tahoka, Texas, dye coupler print, 1994, ©1994 Peter Brown
Frank Gohlke (b. 1942), Grain elevator and lightning flash, Lamesa, Texas, gelatin silver print, 1975, ©Frank Gohlke
Carol Cohen Burton (b. 1945), Prairie City. Dallas, dye destruction 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 Carol Cohen Burton