Art Lies, Volume 23, Summer 1999 Page: 12
60 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
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Build
ing
a M
useum
by Anne Wilkes Tucker
Gus and Lyndall Wortham Curator
Museum of Fine Arts, Houston
There are over 10,000 photographs by almost 2,200 photographers
in the museum's collection. How did they get there?
The collection began officially in 1976 and I was appointed the
first curator of photography. At first, I focused on 20th century
American works because that was my specialty and a strength in
other departments at the museum. This is still the greatest strength,
but we have broadened the geographic areas of our interest until the
museum owns photographs made on every continent.
Photographs were purchased or donated. They were acquired
from artists and galleries, at auctions and at art fairs. They were first
spotted in portfolio review, exhibitions, magazines, and other
museum or private collections. They were brought to our attention
by museum trustees or members of Photo Forum, the museum's
photography support group. A few were first discovered (by others,
not myself) on the Internet.
When we began, one could throw a dart at Beaumont Newhall's
History of Photography and we needed pictures by any artist speared
by the dart. Gradually, works by most major photographers of the
20th century have entered the collection. Usually, we only acquire
one or two examples by each artist. Yet we decided to acquire hold-
ings that range from 10 to 300 pictures by some photographers.
With certain photographers, we seek to acquire an example of
work from each new series. When there is great depth by one artist,
we acquire works by their colleagues and peers. Thus, having
acquired 88 pieces by John Heartfield, 46 by Laszlo Moholy-Nagy,
and 49 by other teachers and students at the Bauhaus, we sought out
works by August Sander, Albert Renger-Patzsch, Franz Roh and
other members of the German avant garde between the wars.
What are the criteria for collecting? Foremost, does an image
stay in the mind for days (or years) after it was first seen? Who is the
artist? Where did they study? Where have they shown and/or
published? What is their nationality, race and gender? How long
have they sustained this series? What series preceded this one? Is
their work like anyone else's pictures? Are their differences from the
works by other artists interesting?
Considering the thousands of images we all see daily, I believe
one must pay attention to those that resonate in memory. I always
go back to the image when making the final decision. John
Szarkowski, the emeritus director of photography at the Museum ofHikoma Ueno
Japanese Officer (Samurai) in Armour, c. 1868
Albumen photograph, 5.75" x 4.25"
Museum of Fine Arts, Houston: Museum purchase
with funds provided by Louisa Stude SarofimModern Art, once said, "Buy for the front, not the back, of the
picture." He meant that one should not be swayed by the pedigree
if one doesn't like the picture.
All pictures acquired by the museum are first approved (or
rejected) by the photography accessions sub-committee, and then
by the full accessions committee. At times, my sub-committee has
politely asked me if I have lost my mind before making a certain
recommendation. I value their counsel and participation in
the process. *
Another important question is "What is the price?" In photog-
raphy, this is an increasingly critical issue. Some great works are
selling for several hundred thousand dollars. The Houston museum
is not in that market, however much we might like to acquire those
images. What to acquire instead? Works by contemporary artists
whose prices have not yet risen so dramatically. Also, this is more
fun. Buying only works of proven value is not amusing or nearly as12 ARTLIES SUMMER 1999
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Lightman, Victoria H. Art Lies, Volume 23, Summer 1999, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228053/m1/14/?q=%22Bryant%2C+John%22: accessed May 25, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .