Paul Ben-Itzak’s new 40-page Memoir, including art by Ansel Adams, Robert L. Berry, Lou Chapman, James Daugherty, Gustave Caillebotte, Jacob Lawrence, Sylvie Lesgourgues, David Levinthal, Roy Lichtenstein, Sam Peckinpah, Charles M. Russell, Saul Steinberg, and Frank Lloyd Wright from both current exhibitions and the AV Archives, is now available. To receive your own copy as a PDF or Word document, including 35 illustrations, please send $19.95 to the AV by designating your PayPal payment to email@example.com, or write us at that address to learn about payment by check. Your purchase includes a complimentary one-year subscription to the Arts Voyager and Dance Insider ($29.95 value). Above: Saul Steinberg, “Train,” From the exhibition Along the Lines: Selected Drawings by Saul Steinberg, on view through October 29 at the Art Institute of Chicago.
Edward Hopper (1882 – 1967), “Night Shadows, 1921.” Etching. Amon Carter Museum of American Art, Fort Worth, Texas, 1983.66.
By Paul Ben-Itzak
Text copyright 2012, 2017 Paul Ben-Itzak
(Like what you read on the Arts Voyager and Dance Insider? We can’t do it without your support. Please donate now in dollars or Euros through PayPal by designating your donation to firstname.lastname@example.org , or write us at that address to learn how to donate by check. Your donation will help pay for our arts and dance coverage in Paris and around the world, as well as vital and urgent medical and dental care for AV publisher Paul Ben-Itzak. No donation is too small. This article from our Archives was first published on our sister magazine Art Investment News on December 5, 2012.)
FORT WORTH, Texas — Once upon a time a newspaper man named Amon Carter followed the recommendation of his friend Will Rogers, the great American humorist, philosopher, and actor, and spent about $5,000 on a couple of canvasses by the “cowboy artist” Charles M. Russell. He built his Russell (and Frederic Remington) collection until, by the time of his death, he was able to bequeath it to found the museum which for the past 51 years has born his name and which, by his decree, is always free, because Carter wanted children to have the advantages he didn’t. The museum did not rest on its rawhide laurels, but grew up to be the greatest museum of American art in the world, in both its curatorial savvy and collecting prescience. It chose Stuart Davis as the one artist it was important to represent in all phases of his career, which, following the trajectory of art in the 20th century, took him from the stark literalism of the “ashcan” school to the wildest reaches of abstraction, never losing sight of reality. And, unlike so many museums which follow collecting trends, the Amon Carter anticipated at least one. Starting in the 1960s, it built a photography collection which dwarfs even that of the Museum of Modern Art.
It’s been a while since we’ve caught up with the Amon Carter, so busy has the auction season been. So we’re taking advantage of a breather in art sales to continue your — and our — ongoing arts education, always with a view to making us all better informed art investors, to offer this update in images of current and upcoming exhibitions at my favorite museum. Herewith you’ll find images of work from the current exhibition “To see as artists see: American Art from the Phillips Collection,” on view through January 6; “Marie Cosindas: Instant Color,” running March 5 through May 26, 2013; “Big Pictures,” on view March 5 – April 21; “Romaire Bearden: A Black Odyssey,” May 18 – August 11; and “Larry Sultan’s Homeland,” closing January 13.
David Levinthal (b. 1949), “[Cowboy],” 1988. From the Five Trails West series. Dye diffusion transfer print. ©1988 David Levinthal. Amon Carter Museum of American Art, Fort Worth, Texas P1988.9. From the upcoming exhibition “Big Pictures.”
Jacob Lawrence (1917 – 2000), “The Migration Series, Panel no. 3: From every southern town migrants left by the hundreds to travel north,” 1940 – 41. Casein tempera on hardboard. ©2011 the Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Acquired 1942, The Phillips Collection, Washington, D.C. . From the exhibition “To see as artists see: American Art from the Phillips Collection.”
William Henry Jackson (1843 – 1942), “Excursion Train. Lewiston Branch. N.Y.C. RR, 1890.” Albumen print.
John Sloan (1871 – 1951), “Six O’Clock, Winter, 1912.” Oil on canvas. ©2011 Delaware Art Museum / Artists Rights Society (ARS), New York. Acquired 1922, The Phillips Collection, Washington, D.C. . From the exhibition “To see as artists see: American Art from the Phillips Collection.”
Left: Walt Kuhn (1877-1949), “Plumes, 1931.” Oil on canvas. Acquired 1932, the Phillips Collection, Washington, D.C.. From the exhibition “To see as artists see: American Art from the Phillips Collection,” on view through January 6. Right: Marie Cosindas (b. 1925), “Andy Warhol, 1966.” Dye diffusion transfer print. ©Marie Cosindas. Courtesy the artist. From the exhibition “Marie Cosindas: Instant Color,” on view March 5 – May 26, 2013. Both events at the Amon Carter Museum of American Art in Fort Worth, Texas.
Stuart Davis (1892-1964), “Blue Café,” 1928. Oil on canvas. ©Estate of Stuart Davis / licensed by VAGA, New York, NY. Acquired 1930, The Phillips Collection, Washington, D.C. Part of the exhibition “To see as artists see: American Art from the Phillips Collection.”
Larry Sultan (1946-2009), “Meander, Corte Madera, 2006.” Digital dye coupler print. Collection of Andrew Pilara. From the exhibitioin “Larry Sultan’s Homeland: American story,” on view through January 13. (It may not look like much, but I was born here!)
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Starting today, all new Arts Voyager stories and art will be distributed exclusively by e-mail, to subscribers. Subscriptions are just $49/year ($25/year, students and unemployed artists), and include archive access to both the Arts Voyager and the 2,000-article Archives of The Dance Insider, our sister publication. To subscribe, designate your PayPal payment in that amount to firstname.lastname@example.org . Or write us to at that address to find out about other payment methods and about paying in Euros or British pounds. If you are already an Arts Voyager or Dance Insider subscriber, you are already signed up. Special Offer: Subscribe before December 15 and receive a second subscription for free — the perfect holiday gift for the Arts Voyager on your list.
Andres Serrano, “Blood on the Flag” (9/11), 2001-2004. © Andres Serrano and courtesy Galerie Nathalie Obadia Paris/ Bruxelles.
By Paul Ben-Itzak
Text copyright 2016 Paul Ben-Itzak
In a jaundiced media climate in which too many journalists seem more interested in confirming stereotypes than confronting them, what artists can provide is a perspective guided not by fixed political, racial, national, or societal constructs but by their own inherent acute aesthetic antennae and geographic sensibility. Such is the frank portrait etched of the United States — not incidentally providing a much-needed antidote to the tired stereotypes the American presidential election has enabled much of the French media to regurgitate (we’re just a bunch of Puritan sexists, 60 million of us are in prison, ad nauseum) — by the photographs of Andres Serrano in a major exhibition opening November 9 at the City of Paris’s Maison Européenne de la Photographie, where it continues through January 29.
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Charles M. Russell (1864-1926), “Lewis and Clark on the Lower Columbia,” 1905. Opaque and transparent watercolor over graphite underdrawing on paper. Amon Carter Museum of American Art, Fort Worth, Texas. 1961.195.
By Paul Ben-Itzak
Text copyright 2012, 2016 Paul Ben-Itzak
First published on the Arts Voyager on February 10, 2012. To learn more about current efforts by American Indians to protect the Missouri, click here.
FORT WORTH, TX & GREAT FALLS, MT — While it might have once seemed laudatory to describe Charles M. Russell as “the cowboy artist” — and perhaps still is in places like Fort Worth, which refers to itself as “cowtown” with pride — the term needs to be qualified for audiences outside of the West who might use it to dismiss Russell’s oeuvre and place him in a quadrant reserved for “folk” art. That this would be a mistake is the most revelatory contribution of Romance Maker: The Watercolors of Charles M. Russell, which runs at the Amon Carter Museum of American Art in Fort Worth February 11 – May 13 before moving to the C.M. Russell Museum in Great Falls June 15 – September 15. Much as the more than 100 watercolors from 20 collections on rare display — their sensitivity to light means watercolors can only be brought out on average one month per year — serve as an epoch epic of the West, a vivid panorama of both American Indian and American settler and pioneer life and society, they also reveal the depths of craft the self-schooled Russell conjured and developed.
To access the rest of the article, including more images, subscribers please e-mail email@example.com . Not a subscriber? 1-year subscriptions are just $49 or Euros, or $25 or Euros for students and unemployed artists. Just designate your PayPal payment in that amount to firstname.lastname@example.org , or write us at that address for information on how to pay by check or in Euros or British pounds.