As I look at the photographs of Nell Dorr (1893–1988) that are currently on view in the Carter’s exhibition Nell Dorr: From Everlasting to Everlasting, I cannot help but be reminded of the work of another female American artist--that of Mary Cassatt (1844–1926). Like Cassatt, Dorr is best known for her photographs of families, especially mothers and children, and even though Dorr created her photographs in 1950s America, the poses, clothing, and composition seem more in place with Cassatt’s era. Yet her photographs are very much a product of their time. Join us on Thursday, August 28 at 6 p.m. when the Carter's Assistant Curator of Photographs Jessica May will reveal these often overlooked connections during her Gallery Talk, Nell Dorr and the Idea of the Family in the 1950s.
The Carter’s special exhibition, Marsden Hartley and the West: The Search for an American Modernism will close this Sunday, August 24. If you haven’t already seen it, now is the time to do so. If you have seen it, come see it again before it goes away.
It has been my pleasure to work as an intern this summer at the Amon Carter, and like Kristina and Heather have both written, the experience has presented me with a wealth of great opportunities. I feel that I not only gained knowledge about the Carter and its delightful collection, but also saw how educational programs can really bring out the best of both of these.
The Education department is valuable because it makes connections – allowing people to not only see the art but become involved with it. During this summer I helped out with the Storytime program, which connects children with art, books, and hands-on creative projects. I loved working with the kids because their reactions to art were so enthusiastic. Every week I enjoyed seeing how many families would return again, inviting their friends to come along with them. (I was surprised that this often included friends from out-of-town! I think the farthest travelers were from New York.)
During my time I also helped with the reorganization of our Teaching Resource Center, an extensive collection of materials for all teachers. It’s great to see that something I helped with will be used to help kids learn about art. Hopefully it will spark their love of art in unique ways.
I am so thankful to the staff of the Education department, who makes this all possible. Everyone here works together, collaborating on projects or just sharing opinions. This collective effort results in programs that educate (and entertain!) and I consider myself lucky to be a part of it, if only for a short time.
In just a week, I will be heading back to the University of Notre Dame to finish my senior year. I’m majoring in Art History and English, and while my post-graduation plans are still a mystery, I know that my experience here will be incredibly valuable to me in the future. I’ve grown attached to the Carter and will keep this time dear in my memory. Thank you to everyone who made this summer so special!
I had completed my master’s degree in art history and had just begun working towards my doctorate in art education when I began my internship at the Amon Carter Museum in the education department. I decided to intern at the Carter because I had always enjoyed the museum’s collection and had heard so many good things about the educational programming there. My internship began with conducting gallery surveys, writing instructional resources, assisting the department with clerical/research tasks, and planning family days. I soon became the Target Family Fun Day Intern wherein I have planned and implemented monthly Family Fun Days for the community. I have had a blast working with everyone here and I have also learned a great deal from this experience. I have learned how to design, construct, and implement fun, educational programming that engages the entire community with the works of art in the museum.
As an education intern, I used the Barnhart Dictionary of Etymology to develop one of my major projects. While flipping through, I noticed that the word intern is derived from the French interner, which means to confine within a place, be internal. My internship with the Carter has been anything but confining rather my immersion throughout the summer has provided many discoveries about the internal workings of the education department of the museum.
You’d be surprised how much work goes on behind the scenes to provide resources and programming for audiences of all ages. These education folks are passionate and productive! I spent my time here working to develop two self-guides (a brochure that helps you lead yourself on a tour) and a packet based on the summer program, Storytime. The Carter has a reputation for quality educational programming. I feel that working with them to develop these resources has greatly improved the quality of my own writing and has taught me about the needs of the different audiences that the museum serves.
The research that I’ve done to find good “meaty facts” about artworks has been enthralling. The more time I spend with the Carter collection, the more I grow to love American art and artists. For me many of the artworks here are nostalgic; they pull at my heartstrings and take me back to my roots. Thanks Julian Onderdonk, now I may never leave Texas.
As summer ends, it’s back to the University of North Texas in Denton to continue studying as a master’s student of Art Education and Art History. Although I won’t miss the hour commute in the 105 degree Texas heat, I will miss the museum: the collection, the educational opportunities, and the friends that I’ve made.
Thank you to all of the staff of the education department for your teaching and your hospitality and thank you to N. C. Wyeth (a Carter artist I’ve gotten to know through research) for reminding me that, “Now is the season to dream of one’s hopes, to build those castles high in the clear brittle air – and then, to jump for them.”
The LA Times has a really good article & slide show about the photographer Paul Outerbridge, who is currently the subject of two exhibitions in Los Angeles. Although not a household name, Outerbridge was a pioneer of color photography whose work was just stunning.
The Carter has eight Outerbridge photographs, and the following two are among my favorites from the entire photography collection (although both have been exhibited recently and won't be on view again in the near future):
Paul Outerbridge, H.O. Box, platinum print, 1922
© 1996 Estate of Paul Outerbridge, Jr., Courtesy of G. Ray Hawkins
Paul Outerbridge, Party Mask with Shells, tricolor carbro print, 1936
© 1996 Estate of Paul Outerbridge, Jr., Courtesy of G. Ray Hawkins
Now go look at that slide show!
Photographer Frank Gohlke speaks to his art at the Amon Carter Museum.