



Property of the Amon Carter Museum of American Art sold to Benefit Acquisition Funds
183
Edward Burtynsky
Rock of Ages # 14, Abandoned Granite Section, E.L. Smith Quarry, Barre, Vermont
- Estimate
- $10,000 - 15,000
$12,600
Lot Details
Chromogenic print, printed 2001.
1992
40 x 50 in. (101.6 x 127 cm)
Overall 49 x 59 in. (124.5 x 149.9 cm)
Overall 49 x 59 in. (124.5 x 149.9 cm)
Signed in ink, printed title, date and number AP1 on an artist's label affixed to the reverse of the backing board. One from an edition of 5 plus 2 artist's proofs.
Specialist
Full-Cataloguing
Catalogue Essay
The photographs in this sale offered as lots 168 through 186 come from the collection of the Amon Carter Museum of American Art and are being sold to benefit acquisition funds. Photography has been a focus of the museum since its founding in 1961 when Dorothea Lange approached the museum about acquiring her portraits of Western painter Charles Russell. Director Mitchell A. Wilder readily made the acquisition, initiating an active engagement with photography and photographers that continues today. In its history, the museum has pursued ambitious exhibition and publication programs, including Marnie Sandweiss’s groundbreaking Photography in Nineteenth Century America (1991) and John Rohrbach’s definitive Color: American Photography Transformed (2013). It was the Amon Carter Museum that commissioned Richard Avedon to produce the series of portraits exhibited and published in 1985 as In the American West.
Driven by a succession of dynamic photography curators, the Amon Carter early-on established a robust photography acquisition program, collecting singular masterworks as well as entire archives. The collection now encompasses more than 45,000 exhibition-quality photographs ranging from one of the first photographs created in the United States to works made as recently as this year. It also includes eight artist archives – including those of Laura Gilpin, Carlotta Corpron, Eliot Porter, and Karl Struss – that allow scholars opportunities to delve deeply into the working methods of these seminal photographers.
Driven by a succession of dynamic photography curators, the Amon Carter early-on established a robust photography acquisition program, collecting singular masterworks as well as entire archives. The collection now encompasses more than 45,000 exhibition-quality photographs ranging from one of the first photographs created in the United States to works made as recently as this year. It also includes eight artist archives – including those of Laura Gilpin, Carlotta Corpron, Eliot Porter, and Karl Struss – that allow scholars opportunities to delve deeply into the working methods of these seminal photographers.
Provenance
Edward Burtynsky
Canadian | 1955Universally termed 'industrial landscapes', Edward Burtynsky's photographs are rooted in the complex, symbiotic and, at times, destructive relationship we have with the earth. In depicting his subjects, Burtynsky balances an exacting, documentarian objectivity with a breathtakingly finessed beauty. His oversized works, whose subjects include quarries in Vermont, shipyards in China and oil refineries in Canada, have a sense of grandiosity and monumentality. There is an initial visual appeal of vibrant colors, details and scale; however, on closer inspection, the environmental dilemma unfolds. They are introspective and meditative, capturing a 'contemplative moment' where landscapes provide visual and emotional resonance.
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