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This is the first major publication on the art and lives of twentieth-century Fort Worth artists Scott (1942–2011) and Stuart (1942–2006) Gentling. Prolific modern-day Renaissance men, the brothers created an extensive body of landscapes; portraits of regional and national luminaries; historical studies ranging from a visual reconstruction of the Aztec capital of Tenochtitlan to subjects drawn from the French and American Revolutions; and natural history illustrations of the flora and fauna of Texas. Realist painters, they drew inspiration from past masters such as Jacques-Louis David and John James Audubon, and they corresponded and collaborated with contemporaries such as Andrew Wyeth and Ed Ruscha. The Gentling brothers’ place within the canon of twentieth-century American art is established here. Along with 290 images, including 120 plates, the book includes five essays, two by scholars Erika Doss of the University of Notre Dame and Barbara Mundy of Fordham University; a trio of Carter museum curators provide deep analyses of the Gentlings’ artistic process, the output of their fifty-year career, and a chronology of their lives; plus several brief and incisive takes on specific aspects of the brothers’ multifaceted art and lives are featured throughout.
Capturing the world in color was one of photography’s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston’s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color’s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art. The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers’ initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography’s documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.
Cabinet cards were America’s main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 6½ x 4¼ inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one’s portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans’ sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today’s ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Tentative exhibition dates (postponed due to COVID-19): Amon Carter Museum of American Art: August 2020 Los Angeles County Museum of Art (LACMA): 2021
Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.
This volume, a companion to the exhibition of the same name, explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures: Berenice Abbott, Walker Evans, and Margaret Bourke-White.
"Gordon Parks's spectacular rise from poverty, personal hardships, and outright racism is astounding and inspiring." --from the foreword by Wing Young Huie
A new look at George Caleb Bingham's iconic river paintings and his creative process in making them George Caleb Bingham (1811-1879) moved to Missouri as a child and began painting the scenes of Missouri life for which he is now famous in the 1840s. Navigating the West explores how Bingham's iconic river paintings reveal the cultural and economic significance of the massive Mississippi and Missouri waterways to mid-19th-century society. Focusing on the artist's working methods and preparatory drawings, the book also explores Bingham's representations of people and places and situates these images in a dialogue with other contemporary depictions of the region. Of particular note are two landmark essays investigating Bingham's creative process through comparisons of infrared images of 17 of his paintings with both his preparatory drawings and the completed works, casting new light on his previously understudied process. Technical analysis of the artist's lauded masterpiece, Fur Traders Descending the Missouri, reveals Bingham's considerable revisions to the painting. In the concluding essay, the 20th-century revival of the artist's work is discussed within the context of American Regionalism and in light of a shifting sequence of narratives about the nation's past and future. Distributed for the Amon Carter Museum of American Art and the Saint Louis Art Museum Exhibition Schedule: Amon Carter Museum of American Art (10/04/14-01/04/15) Saint Louis Art Museum (02/22/15-05/17/15) The Metropolitan Museum of Art (06/22/15-09/20/15)
The work of American photographer Dave Heath (b. 1931) stuns with its emotional potency. Exploring themes of loneliness and alienation in modern society, Heath's photographs depict strangers riding the train, watching a Thanksgiving parade, staring pensively at their dining room table, or kissing on the side of a street. Entirely self-taught, Heath stretches the boundaries of the medium and explores the potential of the photo-narrative--through handmade book maquettes, innovative multimedia slide presentations, and other photographic experimentations. This is the first comprehensive survey of Heath's deeply personal work, focusing on his astounding contributions to black-and-white photography. These images span the first 20 years of his career, 1949 to 1969, and many of them are previously unpublished. Filling a major gap in scholarship, the catalogue surveys the most groundbreaking facets of Heath's creative work and highlights its historical importance. Heath's art is ripe for rediscovery, and this book reaffirms his status as a key figure in 20th-century American photography.