Photo of the Week: Hine in Dallas

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=" 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.

Museums and Social Justice

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, Looking for Lost Baggage, Ellis Island, 1905

Lewis Hine (1874--1940), Looking for Lost Baggage, Ellis Island, 1905, gelatin silver print, P1981.80.1

Robert Glenn Ketchum, CVNRA, #125 (a toxic waterfall in a national recreation area), 1986

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, Bread Line---No One Has Starved, 1932

Reginald Marsh (1898--1954), Bread Line---No One Has Starved, 1932, etching, 1983.83

James Karales, Passive Resistance Training, SNCC, 1960

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.

Photo of the Week: Volcanic Aftermath

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=" 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

Photo of the Week: Lewis Hine & the WPA

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
Lewis Hine, Rayon Warping, Skinner & Sons, Holyoke, MA., 1937, gelatin silver print

Food for Thought

This short film came across my desktop this week and made me stop and think about the nature of art and how it is perceived. The video comes from a school in Liverpool, England, and is one of a series of films featuring art that is installed in their school. I found this especially interesting because the artist being discussed, Dan Flavin, has one of his works installed at the Modern Art Museum of Fort Worth. Why not stop by the Modern and form your own conclusions about this artist?

After you view this film, drop by the Carter and make up your own mind about what makes art great and why you like/dislike it. Add your comment to our blog so we can be part of the conversation!

Photo of the Week: The Egg: Staged, Harmonious, Reflected, and Encircled

Eggs were a symbol of spring long before the easter bunny made the scene. There are numerous depictions of the egg in the Carter's photography collection, but none as interesting as these photographs by Denton, Texas (by way of Minnesota, India, Michigan, New York, Europe, Ohio, and Alabama) photographer Carlotta Corpron. An art teacher at what is now Texas Woman's University, Corpron was influenced by Laszlo Moholy-Nagy and Gyorgy Kepes, who both (surprisingly) spent time working at the Denton campus.

Carlotta Corpron (1901-1988), Eggs in Stage Setting, gelatin silver print, ca. 1948
© 1988 Amon Carter Museum, Gift of the Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.

Carlotta Corpron (1901-1988), Quiet Harmony, gelatin silver print, 1948
© 1988 Amon Carter Museum, Gift of the Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.

Carlotta Corpron (1901-1988), Eggs Reflected and Multiplied, gelatin silver print, 1948
© 1988 Amon Carter Museum, Gift of the Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.

Carlotta Corpron (1901-1988), Eggs Encircled, gelatin silver print, 1948
© 1988 Amon Carter Museum, Gift of the Dorothea Leonhardt Fund of the Communities Foundation of Texas, Inc.

American Moderns on Paper in the News

If you haven't seen American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art, make plans to visit the Amon Carter Museum today! Learn more about the exhibition in the local press coverage below.

Art this Week

Fort Worth Business Press


This Week in the Arts



40 under 40

Congratulations to Stacy Fuller, head of education, who was named to the Fort Worth Business Press' "40 under 40." The annual awards program recognizes individuals who are "shaping the future of Tarrant County through their business and community involvement."

Stacy joined the museum in 2004, and currently oversees the museum’s extensive and varied education programs, which include school tours, public programs, educator training and workshops, teaching resource center initiatives and distance learning broadcasts. In addition, she has developed and successfully implemented the museum’s highly regarded Sharing the Past Through Art and Connect to Art accessible programs. She was recently named Outstanding Museum Division Art Educator by the Texas Art Education Association and selected as vice president of the Museum Education Roundtable, a national organization dedicated to furthering museum education.

Sedrick Huckaby at the Carter Tonight

Well, today is the day of our program, Pacesetters in American Art and Culture!

I mentioned the program and two of our speakers, Kimberly Davenport and Tyler Green, in earlier posts, so last but not least, let’s talk about Sedrick Huckaby.

When searching out possibilities, we really wanted to include an artist. We wanted someone who has credentials on multiple levels: schooling, practice, and street cred. Sedrick has all of that. In fact, as his name came up, we realized we had an invitation to an opening of his on our desk, and we had just heard him on the radio. I have included images of a few of his paintings.

Sedrick received his B.FA. from Boston University, his M.F.A from Yale, and also studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Sedrick has had over twenty solo exhibitions all over the country and has participated in at least fifty group exhibitions. He has lectured and participated in discussions at the Trinity Arts conference in Dallas, TX; the Kimbell Museum; the Dallas Museum of Art; the African American Museum in Dallas; Texas, Rush Art, New York, New York; and more.

His work is held in numerous collections including the African American Museum, Dallas, TX; the Fort Worth Central Library; the McNay Art Museum in San Antonio, Texas; The Museum of Fine Arts, Boston; and the Whitney Museum of American Art, New York, New York.

Sedrick has won many awards including a Phillip Morris Fellowship, the Lewis Comfort Tiffany Award, the Dallas Museum of Art’s Anne Giles Kimbrough Grant, the Joan Mitchell Foundation Painters and Sculptors Grant Program award, and a Guggenheim Fellowship Award. Sedrick is represented by Valley House Gallery & Sculpture Garden in Dallas, TX. When I spoke with Sedrick on the phone, I learned that he is teaching some art classes at the University of Texas at Arlington.
My favorite thing about Sedrick Huckaby is that he is a local guy living right here in Fort Worth.

Sedric Huckaby, A Love Supreme 2 Summer, Photo by Michael Bodycomb.jpg

A Love Supreme 2 Summer
Photo by Michael Bodycomb

Sedrick Huckaby, Big Momma Portrait, Photoby Michael Bodycomb.jpg

Big Momma Portrait
Photo by Michael Bodycomb

So, all in all we have an art critic from D.C., a gallery Director from Houston, and an artist from Fort Worth. Come and hear what they have to say during tonight’s program, Pacesetters in American Art and Culture.
Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 to register.

Pacesetters Preview

This Week in the Arts features an interview today with Sedrick Huckaby and Tyler Green, two of the panelists at a free program tonight at the Amon Carter Museum. Huckaby and Green, along with Kimberly Davenport, will speak about their success in the visual arts as young adults. Check out the interview and join us for the program this evening!