Emily Davis, taking a spin in the backyard with her pet chicken, in Alameda, New Mexico, circa 1985.
What is your official title, and what are some of your general responsibilities?
My official title is Senior Research Associate for the Time-Based Media Collection. I am working on an exciting multi-faceted project funded by the A.W. Mellon Foundation. One of my main responsibilities is to ensure the long-term sustainability and accessibility of the museum’s time-based media collection, which includes film, video, audio, and software-based artworks. To do this I am assessing the preservation needs of the holdings, determining what works need and can be migrated to digital formats, working with the artists, galleries, and estates to migrate the work according to best practices, and updating the collection records to document the preservation work. I will also be working with the new archival assistant to arrange and describe the related archival materials in order to gather more information about the collection and make it accessible to staff and researchers. Continue reading
Marilyn Monroe during the filming of The Misfits, 1960 © Eve Arnold/Magnum Photos.
Two women—a superstar perched perfectly still during a studio photo shoot, centered against a white seamless, as the second figure walks into the frame, the edge of the backdrop bisecting her head and torso. Each is holding a prop (an attribute?) that underscores their roles. One needs no introduction, while the other is photographer Eve Arnold, who spent two months on the set of The Misfits, Marilyn’s final film and their last session together.
I love Jaime Permuth’s astute reading of the image: “My first response is to the caption which accompanies the image. If this is Marilyn during the filming of The Misfits and the copyright of the image is ascribed to Eve Arnold, then who is the third woman holding the camera? If she is indeed the photographer Eve Arnold herself, then she has set up a second camera somewhere on set and has executed, of all things, a self-portrait with Marilyn.” He continues, “Another possibility: there is more than one photographer on set observing the interaction between the two women.” Continue reading
War Bride by Clarence Holbrook Carter, 1940 © Estate of Clarence Carter. Photo Credit: Richard Stoner.
Things said infrequently to the Curator of Fine Arts: “We need to talk about marriage.”
As we begin Art Tracks, one of the first tasks is identifying each person, or party, who was involved in the transfer, movement, and custody of an artwork before it came to Carnegie Museum of Art.
Then we have to build a timeline of each party’s movements over their lifetime, and associate a distinct location identifier for each movement. Currently, we’re using Geonames as our authority, though the Getty Thesaurus of Geographic Names (TGN) just became linked-open-data. Using an authority helps us be explicit that we’re talking about the Paris in France, and not Paris, Ontario, Paris, Texas, or Paris, Togo. Continue reading
Hand pointing, light beams in background © SuperStock/Corbis.
August’s This Picture photograph has been, to my mind, one of the most enigmatic we’ve had so far. Depending on how you see it, the pointing finger can be accusatory, celebratory, or just plain puzzling. The responses we have received from all of you have risen gamely to the challenge of unpacking the meaning and associations of this picture. The four responses that stand out to me as the most intriguing are:
- “What your retina records the millisecond prior to your eyeball being poked. ‘At least it’s not a sharp stick.’” —George Slade
- Roy Lichenstein’s Finger Pointing (Corlett 126), 1973 as a rebuttal to. —April
- “The first and most obvious reaction I have is to think of the famous 1917 WWI Army recruitment poster by Flagg. The image is both accusatory and motivational…it is identifying you (me) for action or lack of action.” —Mike
- “Power. But does he have it, or does the viewer? Don’t let those light beams fool you…there’s something almost accusatory about that pointing finger. It’s almost as thought the finger is urging the light beam to move forward in an aggressive manner. Something disturbing and aggressive about this image.” —Becka Wright
Congratulations to George, April, Mike, and Becka! You are this month’s winners of the Program Manager’s Picks contest. Your prize (coming soon) is free admission to an upcoming World Premiere of The Invisible Photograph, which can be redeemed at one of our two remaining screenings, including our next one on September 19. Continue reading
Charles “Teenie” Harris, Labor Day celebration honoring A. Philip Randolph (waving from balcony of Civic Arena), surrounded by clergy, Lower Hill District, Pittsburgh, Pennsylvania, September 4, 1967, black and white: Kodak Safety Film, Carnegie Museum of Art, Heinz Family Fund, 2001.35.3994 © 2006 Teenie Harris Archive.
On this day in September 1967, labor leader and civil rights pioneer A. Philip Randolph was honored during a Labor Day Mass at the Civic Arena, where Bishop John Wright presented him with an award for his outstanding leadership in a distinguished career that spanned more than half a century. Photographer Teenie Harris was in attendance that day, covering the event for the Pittsburgh Courier, when he captured this stark black-and-white image of Randolph being welcomed by a delegation of clergy from the Pittsburgh region and beyond. Continue reading