William Merritt Chase (1849–1916), Idle Hours, ca. 1894, oil on canvas, 1982.1
Laura Gilpin, (1891–1979), [Summer Carnival] [Colorado Springs, Colorado], June 1941, Gelatin silver print, © 1979 Amon Carter Museum, Bequest of the artist, P1979.102.27
Keith Carter (b.1948), Fireflies, 1992, Gelatin silver print, ©1992 Keith Carter, P2000.4
Have a wonderful summer!
Today we honor the men and women who have given their lives to ensure our freedom. One day out of a year seems hardly fitting for such a sacrifice, including those made by the families of the fallen.
Here are two works from our collection that speak to the human experience of separation and loss.
George Bellows (1882–1925),
Prepare, America!, 1916
Amon Carter Museum, Fort Worth, Texas,
Albert E. Schaaf (1866–1950)
Armistice Morning--Fifth Avenue, 1918
Amon Carter Museum, Fort Worth, Texas
Although Armistice Day and Memorial Day are two different occasions, this work is one that resonates with everyone who has lost someone to war.
To honor military personnel, the Carter is pleased to participate in the 2010 Blue Star Museums Program. Participating institutions offer free admission to active military families all summer in a new partnership with the National Endowment for the Arts. Since admission is always free to the Carter’s permanent collection and special exhibitions of American art, members of the military will receive a complimentary souvenir collection catalogue during their visit to the Carter between Memorial Day and Labor Day. To receive your catalogue, simply present your military ID to a Visitor Services Representative at the museum’s Information Desk. For more information, including other participating institutions, click here.
Send yourself - and your baby - to the Carter for a time out and learn something interesting about the art in our collection. No sitting in the corner this Friday, just opportunities to discuss art and life-in-general with your fellow new parents.
Laura Gilpin (1891–1979)
Navaho Twins [Edith's Babies] [Near Betatakin, Arizona], September 1953
Gelatine silver print
© 1979 Amon Carter Museum, Bequest of the artist
Don’t forget that free parking is still available in the museum’s parking lot off of Camp Bowie. To access the museum with your stroller, please come to the elevator next to the loading dock on the north side of the museum. Someone will be there to assist you and bring you into the museum.
Call 817.989.5030 or e-mail email@example.com with questions about this or any program at the Carter.
Deep in my heart I’m a nerd. I love to watch science shows, even when I’m not exactly sure what is being discussed. This Saturday presents the perfect public program for my science-geek side and my inner-librarian, with beautiful art on view as a juicy bonus.
Cyntia Karnes, senior paper conservator at the Library of Congress, will offer insight into the art of John Marin, an artist from our permanent collection and part of our special exhibition American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art. Ms. Karnes has completed a technical examination of Marin’s watercolors and will share her views on the influences on Marin’s work.
Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 or e-mail firstname.lastname@example.org to register.
John Marin (1870–1953)
Movement No. 3, Related to Downtown New York, 1926
Opaque and transparent watercolor over charcoal on thick wove paper
© Estate of John Marin/ Artist Rights Society (ARS)
Wadsworth Atheneum Museum of Art, Hartford, CT; Gift of James L. Goodwin and Henry Sage Goodwin from the Estate of Philip L. Goodwin, 1958.229
After reading about the upcoming open house event hosted by the Smithsonian art research centers for the American Library Association meeting in June, I couldn't help but think how strongly our own library and archives collections hold up in comparison to the Smithsonian pantheon. In fact, we're directly tied to the Smithsonian's Archives of American Art: as an affiliated research center, the library at the Carter is the only site in mid-America offering a complete collection of the unrestricted material from the the archives. Comprising over 15 million original documents, this collection offers an incredible depth of material to scholars working on American art research topics. Hats off to Doug Litts, a colleague of mine who works at the Smithsonian American Art Museum and National Portrait Gallery Library, for his work on the following event page:
No matter what your age”¦
Artist Unknown , Laura Gilpin, Receiving an Honorary Ph. D. Colorado College, ca. 1970’s, Dye coupler print (Type C), Bequest of Laura Gilpin
or where you go to school”¦
Skeet McAuley, Hogan-Shaped Administration Building, Navajo Community College, Tsaile, Arizona, 1984, Dye destruction print
Congratulations to all graduates!
Check out this post about photographer Lewis Hine and his Dallas child labor images over at the Dallas Observer blog. Apparently a Massachusetts historian, Joe Manning, has been tracking down the descendants of the kids depicted in the photos, which were taken about 100 years ago. The Carter has about 60 of these photographs in its permanent collection, and the historian has even been in touch with the daughter of a girl depicted in one of our Hine photographs!
<img src="http://www.cartermuseum.org/sites/all/files/images/P1978-111-26_s.jpg width="550">
Lewis Hine (1874-1940), [Rosy Phillips and Exie Phillips], October 1913, gelatin silver print, gift of Mr. and Mrs. Allan M. Disman
"Rosy" aka Rosa Mae, was working in a Dallas cotton mill when Lewis Hine took her photograph at age 13. According to the Manning's research, she married, moved to North Carolina, and died in 1941.
You can read more about Manning's quest to learn more about these children here.
A few weeks ago I attended the annual conference of the National Art Education Association in Baltimore, where the theme was Art and Social Justice. I must admit that I rarely pay attention to a conference’s theme, but this year was different because social justice is one of my personal passions. Carter educator Sara Klein and I had the opportunity to showcase the Carter’s accessible programs and programs for non-traditional audiences through sessions presented to museum educators across the country, and we gained inspiration by viewing the amazing artworks at the American Visionary Art Museum, which was founded on the principle that art and social justice are inextricably linked.
As an American art museum, I believe that we are perfectly suited to making social justice a priority. Our education programs at the Carter often serve to promote social justice (for example, by making our collection accessible to as many audiences as possible) or feature a social justice theme (like educator workshops centered on immigration). Likewise, many artists in our collection have created poignant visual responses to important social issues. Here are some of the works that strongly resonate with me:
Lewis Hine (1874--1940), Looking for Lost Baggage, Ellis Island, 1905, gelatin silver print, P1981.80.1
Robert Glenn Ketchum (b. 1947), CVNRA, #125 (a toxic waterfall in a national recreation area), 1986, from the project "Overlooked in America: The Success and Failure of Federal Land Management," dye destruction print, gift of Advocacy Arts Foundation, ©1986 Robert Glenn Ketchum, P1996.22.3
Reginald Marsh (1898--1954), Bread Line---No One Has Starved, 1932, etching, 1983.83
James Karales (1930--2002), Passive Resistance Training, SNCC, 1960, gelatin silver print, © Monica Karales, P2008.18
Social justice is often achieved through dialogue. Make your voice heard about museums and social justice by posting a comment below.
The aftermath of Iceland's Eyjafjallajokull volcano eruption has been making news for days, but we haven't heard much about its long term effects on the environment. We have our own active - and very destructive - volcano here in the U.S., Mount St. Helens.
Our photo this week comes from photographer Frank Gohlke, who documented changes in the Mount St. Helens area for several years after its devastating 1980 eruption. This particular shot was taken a full THREE years after the eruption, and might look familiar if you visited the Carter during our 2007 exhibition, Accommodating Nature: The Photographs of Frank Gohlke.
<img src="http://www.cartermuseum.org/sites/all/files/images/P2007-12_s.jpg width="550" alt="Frank Gohlke, Aerial view: looking southeast over Windy Ridge and visitors parking lot, 4.5 miles northeast of Mount St. Helens, Washington 1983, gelatin silver print">
Frank Gohlke, Aerial view: looking southeast over Windy Ridge and visitors parking lot, 4.5 miles northeast of Mount St. Helens, Washington 1983, gelatin silver print, © Frank Gohlke
This week marks the 75th anniversary of the creation of the Works Progress Administration, which provided millions of jobs as part of the New Deal. During the eight years it existed, the WPA was the largest employer in the country. People working in the arts were hard-hit by the Great Depression, but many of them found work on WPA projects throughout the country.
One of these was photographer Lewis Hine (1874-1940), who was the WPA's chief photographer for a project showing changes in American industry. Even before the Depression, Hine was known for his photographs documenting child labor, American workers, and war relief efforts in Europe. In addition to the photograph below, the Carter has a collection of Hine's work including child labor photographs that were exhibited in our 2006 exhibition Lewis Hine: Children of Texas.
This is one of Hine's photographs done for the WPA's National Research Project.
Lewis Hine, Rayon Warping, Skinner & Sons, Holyoke, MA., 1937, gelatin silver print