We had many friends–old and new–visit our museum in 2009. Almost 20,000 students had a conversation about great American art in our galleries; about 6,500 visitors stopped by for a docent-led tour of our permanent collection or a visiting exhibition; and over 2,500 visitors enjoyed our five Family Fundays.
We welcomed many a virtual visitor too! Our distance learning program reached over 15,000 students. We now have over 700 Facebook fans, and 2,700 folks follow the museum on Twitter. Our Web site gets hundreds of thousands of hits each year.
All in all, we were busy, and now we’re working on making next year even better. Join us here in Fort Worth or online as the Carter Gets Modern in 2010.
Yasuo Kuniyoshi (1889–1953), Milking the Cow, 1922, lithograph
Happy New Year!
Last year the education department introduced over 19,000 students to the Carter’s permanent collection through our school tours program. The Gallery Teachers use an inquiry-based style of teaching which often includes asking students for their initial observations when discussing a specific work of art. One of our favorite paintings to use with student groups is by Georgia O’Keeffe.
We’ve found that the easiest and best way to approach this work of art with students is simply by asking them “What do you think this is?” or “What are you looking at?” We have compiled a list of the most interesting, most creative, and funniest responses below.
Sacks of flour
A bunch of pillows
Brown grocery bags
Couch cushion forts
The back of a picture frame
A sand castle
George Washington’s teeth
A trashcan with a garbage bag coming out of it
Now, it’s your turn”¦what do you see when you look at this painting?
Georgia O’Keeffe, Ranchos Church, New Mexico, 1930/31, oil on canvas, ©Amon Carter Museum.
If you've driven anywhere near the Cultural District lately, you've probably noticed that midway rides and legions of horse trailers have once again descended upon Fort Worth for the Stock Show, which opens this Friday. This week I'm sharing a few historical Stock Show photographs from the Carter's Erwin E. Smith archive. These images date back to the mid-1920s, when the Stock Show was still held in the stockyards and the world's first indoor rodeo was held in the arena now known as Cowtown Coliseum (the event was moved to the west side of town in the 1940s).
Erwin E. Smith, A group of rodeo officials standing in front of the General Offices of the Southwestern Exposition and Fat Stock Show in Fort Worth, Texas, 1925-1940, gelatin dry plate negative, Erwin E. Smith Collection of the Library of Congress on Deposit at the Amon Carter Museum, Fort Worth, Texas
Erwin E. Smith, [Rodeo grand entry, Southwestern Exposition and Fat Stock Show Rodeo, Fort Worth, Texas], glass plate negative, ca. 1925-1926, Bequest of Mary Alice Pettis
Erwin E. Smith, Southwestern Exposition and Fat Stock Show Rodeo, Fort Worth, Texas, glass plate negative, ca. 1925-1926, Bequest of Mary Alice Pettis
Erwin E. Smith, Riding a tough one, [Southwestern Exposition and Fat Stock Show Rodeo, Fort Worth, Texas] , gelatin dry plate negative, ca. 1925-1926, Erwin E. Smith Collection of the Library of Congress on Deposit at the Amon Carter Museum, Fort Worth, Texas
Erwin E. Smith, A rodeo performer throwing a loop over a horse and rider as they race by him, [Southwestern Exposition and Fat Stock Show Rodeo, Fort Worth, Texas] , gelatin dry plate negative. ca. 1925-1926, Erwin E. Smith Collection of the Library of Congress on Deposit at the Amon Carter Museum, Fort Worth, Texas
Yesterday the library received a new exquisite publication, The Feel of Steel. Published in a small print run of 150 copies, this limited edition book focuses on the history of steel-engraved banknotes in the United States. Engraving is a form of intaglio printing whereby a design is carved into a metal plate. The carved lines are forced full of ink, then the plate is pressed onto a sheet of paper under high pressure, and the inked designed is transferred to the sheet. The "feel of steel" in the title refers to the tactile quality of the ink as it rests on the printed sheet. Our current paper currency still exhibits this quality.
The book notes the difference between letterpress, or relief, printing and intaglio:
The creation of high-quality intaglio work is a far more demanding discipline than letterpress printing ... The training of picture engravers was a long process. Intaglio was a much slower and more costly process, but it produced magnificent images that could be achieved in no other way.
Banknote engraving employed some of the most accomplished artists in the country, and the author considers the art the "pinnacle of printing and the graphic arts" in America. While providing a detailed history of banknote printing, including technical discussion, it also includes some fine examples of engraved prints. Many of these original prints were printed from original banknote plates. The attached prospectus provides an overview of the book.
The museum has many examples of engravings in its collections, both in the fine prints and library book collections. Make plans to view this book and other books with engraved illustrations by visiting the library during public hours.
This Sunday, January 10, from 1:00 - 4:00 p.m., is our next Family Funday. The folks from the Noble Planetarium will turn our library into the night sky and art-making activities, poetry, and storytelling will lead you to our galleries. Get bundled up and be ready to check out winter landscapes and night-time adventures at the Carter!
Over the past several months, you may have noticed that the Carter's building and grounds undergoing maintenance in preparation for the museum's 50th anniversary next year. All the activity going on around the building inspired this week's post, which draws from the Carter's collection of construction photographs by Charles Rivers (1904-1993).
Born in Greece, Rivers was a construction worker, union organizer, political activist, and photographer, who also worked on the construction of both the Empire State Building and Chrysler Building 1929-1930. Rivers led an incredibly full and varied life, and a full bio is available from NYU, which holds his personal archive.
Charles Rivers, Shadow of the Chrysler over the Graybar Building while a Load of Steel is Being Relayed from Derrick to Derrick to Reach the Floor where It is to Be Erected into Place, gelatin silver print, 1929, Gift of the artist, © Charles Rivers
Charles Rivers, Repairing the Derrick on the Chrysler Building, gelatin silver print, 1929, Gift of the artist, © Charles Rivers
Charles Rivers, The Bolter Up – Empire State Building [Self-portrait], gelatin silver print, 1930, Gift of the artist, © Charles Rivers
Snow twice in one week?! Where ARE we? Since it looks like we north Texans might ring in a slushy 2010, our photos this week are examples of two snowy New Year's Eves in other parts of the world.
Eliot Porter (1901-1990), View from Monastery Nunatak, Dry Valleys, Antarctica, December 31, 1975, dye transfer print, Bequest of the artist, ©1990 Amon Carter Museum
Brent W. Phelps (b. 1946), View West Toward Original Fort Mandan Site from Highway 200, North Dakota, December 31, 2000 [47Â° 14' 37" N -- 101Â° 11' 34" W], 2000, dye coupler print, © 2000 Brent W. Phelps
The New Year is just around the corner, and the Amon Carter Museum has a stellar 2010 exhibition schedule. Comprised of three special exhibitions that celebrate modern art, each will focus on different American modern art movements spanning the years 1902 to 1962 in a variety of media including works on paper, paintings, sculpture and photographs.
Mark your calendar for these dynamic exhibitions! Click here for more information.
American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art
February 27–May 30, 2010
Constructive Spirit: Abstract Art in South and North America, 1920s–1950s
June 26–September 5, 2010
American Modern: Abbott, Evans, Bourke-White
October 2, 2010–January 2, 2011
This week's photo comes from the Carter's Karl Struss archive. A fine art photographer, Struss was also an Oscar-winning cinematographer, which is why he was out photographing 1920s Hollywood.
Karl Struss (1886-1981), Hollywood [Shop Window Decorated for Christmas], gelatin dry plate negative, 1928, © 1983 Amon Carter Museum