The Carter is open today, from 10 a.m. to 8 p.m.
Beauty and Life features a selection of artworks from a collection of over 240 photographs and works on paper gifted to the Carter by Texas collector Finis Welch. Photographs from Ansel Adams, Edward Steichen, Dorothea Lange, Marco Breuer, Edward Weston, and more are on view for the first time at the Carter.
In the 1960s, activist Chicano artists forged a remarkable history of printmaking that remains vital today. ¡Printing the Revolution!, organized by the Smithsonian American Art Museum, explores the rise of Chicano graphics within these early social movements and the ways in which Chicanx artists since then have advanced innovative printmaking practices attuned to social justice.
Art Making as Life Making offers a glimpse of life in a 1960s print workshop. While at the Tamarind Lithography Workshop in Los Angeles, Akagawa collaborated with many leading artists, printing their lithographs and creating his own. The exhibition features more than 40 works from the Carter’s collection of Tamarind Workshop prints.
Darryl Lauster’s Testament, a bronze obelisk, asks the viewer to be a critical reader of information and to look at the function of text in different contexts. Combining pop culture references with quotes from U.S. foundational documents, Testament questions what we know about our nation’s history and promises.
Exploring more than 100 years of photographic representations of Black American experiences, Black Every Day: Photographs from the Carter Collection includes over 50 historical and contemporary art photographs and over 100 vernacular images. Works by both iconic artists and unidentified community members showcase the everyday moments of Black life.
Over the summer, Texas–based artist Justin Ginsberg will create a glass sculptural work inspired in part by the Sargent, Whistler, and Venetian Glass exhibition. At a glass kiln on the Museum’s lawn, Ginsberg will pull glass threads then install the threads in the Carter’s Main Gallery, resulting in a large-scale glass “waterfall” sculpture.
This exhibition pairs the sparkling splendor of glass goblets and marvelous mosaics with paintings and prints by the leading 19th-century American artists. Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano brings to life the Venetian glass revival between 1860 and 1915 and the artistic experimentation the city inspired for visiting artists.
Speaking with Light, organized by the Carter, is the first major museum survey to explore how Indigenous artists have leveraged their lenses to reclaim representation and affirm their existence, perspectives, and trauma. The exhibition features more than 30 artists, 80 photographs, videos, three-dimensional works, and digital activations that forge an investigation into identity, resistance, and belonging.
Organized by and drawn exclusively from the collection of the Joslyn Art Museum, Faces from the Interior features over 60 recently conserved watercolors including portraits of individuals from the Omaha, Ponca, Yankton, Lakota, Mandan, Hidatsa, Assiniboine, and Blackfoot nations. Contemporary Indigenous knowledge bearers, artists, and scholars from those nations contributed texts and four short films for this exhibition.
Known for her signature artistic practice of creating monumental sculpture from natural or discarded materials, Jean Shin will create a site-specific work on the Carter grounds that examines the Museum’s history and landscape. Shin will develop a functional work that reflects the Museum’s past and present through an elegant expression of identity and community.
This exhibition examines the Fort Worth mid-century art scene through the presentation of more than 30 works by Fort Worth artist Charles Truett Williams and the artistic community drawn to his studio salon. Accompanying the works on paper and sculptures are ephemera from the recently acquired archives of Williams.