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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
"Amon G. Carter (1879-1955) is one of the legendary men of Texas history. Born in a log cabin, he was self-made, becoming Fort Worth's leading citizen and champion. He developed an interest in the art of Frederic Remington and Charles M. Russell through his friendship with Will Rogers. Carter's will provided for the establishment of a museum in Fort Worth devoted to the art of the American West. While the museum holds the most significant collection anywhere of works by Remington and Russell and is a pioneer in the field of western studies, it has evolved into one of the great museums of American art as a whole, focusing on artists working on successive frontiers, aesthetic as well as geographic. Its photography collection alone has grown to nearly one-quarter of a million objects." "The museum, designed by noted architect Philip Johnson, opened to the public in 1961. On the occasion of its fortieth anniversary, a substantially expanded building, also designed by Mr. Johnson, was inaugurated. This volume relates the museum's history and presents color and duotone illustrations of 125 of its masterworks dating from 1822 to 1998 (paintings, sculpture, prints, watercolors, pastels, drawings, and photographs), with an essay about each and a biography of each artist. It includes a number of landmark works recently added to the collection and unveiled here for the first time: paintings by John Singer Sargent, Stuart Davis, and Marsden Hartley; sculpture by Alexander Calder and Louise Nevelson; a daguerreotype by Southworth and Hawes; and photographs by Alfred Stieglitz, David Smith, Robert Adams, and Linda Connor."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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.
"Gordon Parks's spectacular rise from poverty, personal hardships, and outright racism is astounding and inspiring." --from the foreword by Wing Young Huie
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.
Murano Glass and its Collectors in Aesthetic America / Melody Barnett Deusner -- Venetian Mosaics and Glass in the United States, 1860-1917 / Sheldon Barr -- "Where Have Titian's Beauties Gone?" : Sargent and Whistler on the Streets of Venice / Stephanie Mayer Heydt -- Interweaving Worlds : Antique and Revival Lace in Italy and in the United States, 1872-1927 / Diana Jocelyn Greenwold -- Sparks of Genius : American Art and the Appeal of Modern Venetian Glass / Crawford Alexander Mann III -- Biographies / Brittany Emens Strupp, Crawford Alexander Mann III.