Media Archive: Announcements

Carnegie Museum of Art Announces the Opening Date of the 57th Carnegie International


September 20, 2017

Justin Conner

Jonathan Gaugler
412.688.8690 / 412.216.7909

Carnegie International to Open October 12, 2018

Programming and Artist Site Visits Happening Now

Thaddeus Mosley, Art Labor with Joan Jonas, and Mimi Cherono Ng’ok announced as participating artists

Pittsburgh, PA… Carnegie Museum of Art (CMOA) is pleased to announce that the Carnegie International, 57th edition, 2018, curated by Ingrid Schaffner, will open October 12, 2018, and run through March 25, 2019. However, the International is already under way, with expanding research and creative documentation along with a highly-crafted schedule of programs, commissioned essays, and participating artists coming to Pittsburgh for immersive visits. As part of Schaffner’s interest in making the research process accessible and evolving. New York-based design firm Project Projects has built an online portal for the International, at

The Carnegie International online portal serves as a living, accumulating document, where viewers can read Travelogues by writer and critic Emmanuel Iduma and artist Maira Kalman, based on the research trips taken by Schaffner. The Travelogues make visible the spirit of research and travel leading up to the International, inviting writers to add their own voice, interpretation, and experience to the process. Future Travelogues by Pico Iyer, among others, will be added in the coming months, each chronicling Schaffner’s travels with a curator companion to a region he or she had never visited before. The companions were Doryun Chong, Chief Curator at M+, Hong Kong; Ruba Katrib, Curator of SculptureCenter, New York; Carin Kuoni, Director of the Vera List Center for Art and Politics, The New School, New York; Bisi Silva, Founder and Artistic Director of the Centre for Contemporary Art, Lagos; and Magalí Arriola, a Mexico City-based independent curator.

“I was thinking about the Carnegie Museums’ identity as a research institute, and thought that offered a useful model,” said Schaffner. “The colleagues I traveled with are not co-curators but thinking partners. By supporting their work in the field, the International has helped build new networks of artists and curators around the world.”

Back in Pittsburgh, Tam O’Shanter Drawing Sessions have begun. In a nod to the heritage of founder Andrew Carnegie (a tam-o’-shanter is a traditional Scottish beret), CMOA has held these art classes for young people since 1929. Schaffner has retuned the format to create a programmatic thread leading up to and throughout the exhibition.  The public programs are conducted by artists and organizers of the International, who connect their work and participants through improvisational acts of drawing. Each session is unique. Skill is not required to map, mark, doodle, render, cartoon, write, or otherwise participate in these open-ended gatherings. This program underscores Schaffner’s commitment to unpacking the history of the International as an evolving exhibition concept.

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William Henry Fox Talbot (English, 1800–1877) "Lace," early 1840s, salted paper print from a photogenic drawing negative, 8 15/16 x 7 3/8 in. (22.7 x 18.7 cm) image; 9 x 7 7/16 in. (22.9 x 18.8 cm) sheet
Carnegie Museum of Art, Pittsburgh, Purchased with funds provided by The William Talbott Hillman Foundation. 2017.2.1

CMOA Acquires Important Photographs by William Henry Fox Talbot


Jonathan Gaugler | | 412.688.8690 / 412.216.7909

Exhibition, Publication coming in November 2017

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces the acquisition of five photographs from the dawn of the medium. These images were created by William Henry Fox Talbot, and join an exhibition of this pioneering inventor’s work, opening November 18.

William Henry Fox Talbot (English, 1800–1877)
Lace, early 1840s
salted paper print from a photogenic drawing negative
8 15/16 x 7 3/8 in. (22.7 x 18.7 cm) image; 9 x 7 7/16 in. (22.9 x 18.8 cm) sheet
Carnegie Museum of Art, Pittsburgh, Purchased with funds provided by The William Talbott Hillman Foundation. 2017.2.1

Talbot made many photographs of lace because its delicate, geometric patterns highlighted the potential of this new medium to faithfully reproduce complex designs. Though his interest here lies in the documentary possibilities of photography, Talbot also understood its potential to beautifully frame and describe lace’s intricate detail. Photographs like these would help revolutionize and industrialize the lace-making trade.


Articles of China, 1844
salted paper print from a calotype negative
5 ½ x 7 1/8 in. (14.0 x 18.2 cm) image; 7 3/8 x 8 ¾ in. (18.7 x 22.2 cm) sheet
Carnegie Museum of Art, Pittsburgh, Purchased with funds provided by The William Talbott Hillman Foundation. 2017.2.2

The desire to order and structure our environment is a deep-seated human instinct. Talbot’s balanced, pleasingly composed arrangement speaks to this. He also recognized a new, evidentiary function of photography, “And should a thief afterwards purloin the treasures—if the mute testimony of the picture were to be produced against him in court—it would certainly be evidence of a novel kind.” Insurance claims were made eminently easier with Talbot’s invention.


Portrait of Venus, early 1840s
salt print from a calotype negative
3 7/8 × 3 in. (9.9 × 7.5 cm)
Carnegie Museum of Art, Gift of William T. Hillman, 2017.30.1

Marble bust of a woman, facing sideways from viewer. Her hair is swept up in a bun

A Barouche Parked in the North Courtyard of Lacock Abbey, April 1844
Salted paper print from a calotype negative
5 7/8 × 7 in. (15.2 × 17.9 cm) image; 6 × 7 1/8 in. (15.5 × 18.2 cm) sheet
Carnegie Museum of Art, Gift of William T. Hillman, 2017.30.2

Bust of Patroclus, August 9, 1842
salt print from a calotype negative
5 1/8 × 5 in. (13.8 × 12.9 cm) image; 9 × 7 1/2 in. (23.1 × 19.1 cm) sheet
Carnegie Museum of Art, Gift of William T. Hillman, 2017.30.3


Upcoming Exhibition

William Henry Fox Talbot and the Promise of Photography
November 18, 2017–February 11, 2018
Gallery One, Carnegie Museum of Art

Featuring more than 30 works by William Henry Fox Talbot (English, 1800–1877) and his circle from its own collection and from important public and private lenders, CMOA presents the largest US exhibition of Talbot’s photography in the last 15 years. A true “gentleman scientist” of the Victorian period, Talbot combined his knowledge of chemistry, mathematics, and optics, with his interest in art, botany, classics, and foreign languages to invent the paper-based photography that dominated the field for most of the 19th and 20th centuries. Due to the fragile nature of the photographs, exhibitions of Talbot’s work are rare. This represents the first time ever that any will be on view in Pittsburgh.

Exhibition Catalogue
The exhibition will be accompanied by a beautiful, small-format book that serves as a primer on the work of William Henry Fox Talbot, featuring an introductory essay by curator Dan Leers and thematic groupings elucidated by noted Talbot scholar Larry Schaaf. With its luminous reproductions of Talbot’s fragile works, this publication demonstrates that early photography required a form of magic-making and innovation that continues to inspire people today.

Dan Leers, with contributions by Larry J. Schaaf
William Henry Fox Talbot and the Promise of Photography
10 x 8 3/8 in.; Hardcover; 96 pages; 50 illustrations
Retail price: $25
Published by Carnegie Museum of Art

Available October 2017 from D.A.P./Artbook and the CMOA Store

William Henry Fox Talbot and the Promise of Photography is organized by Dan Leers, curator of photography at Carnegie Museum of Art.

Please visit for a selection of high-resolution images from the exhibition.

Support for the exhibition is generously provided by the William Talbott Hillman Foundation.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art
Carnegie Museum of Art enriches people’s lives through art. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit

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CMOA & Sarris announce art-inspired chocolate

March 31, 2017

Contact: Jonathan Gaugler | | 412.688.8690 / 412.216.7909

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces a new collaboration with Canonsburg, PA-based Sarris Candies. The museum and confectioner team up this spring with the release of a chocolate figure inspired by one of the world’s most iconic works in modern sculpture, Alberto Giacometti’s Walking Man I (1960) which holds a place of pride in CMOA’s collection.

Cast in bronze, Walking Man I depicts a tall, faceless man with strangely elongated limbs, striding onward with a purposeful momentum.

Walking Man embodies humility and humanity, but also the utter isolation of the individual,” said Catherine Evans, Chief Curator at CMOA. “The sculpture is a masterwork of force and movement. Plus, those long, lumpy limbs already look like chocolate-covered pretzels.”

Dubbed Chocometti, the new offering of dark chocolate with pretzel legs stays true to Sarris’s popular confections. “Chocolate pretzels are one of our strongest sellers, shipping all over the country” said Sarris CEO Bill Sarris. “We jumped at the idea to take it in a different direction.”Open box wtih Sarris and Carnegie Museum of Art logo showing chocolate figure in a plastic tray

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Pittsburgh’s Newest Brunch Destination: The Café Carnegie

With 2017 comes the new restaurant’s full menu and hours


David Wood,, 214.754.1893
Jonathan Gaugler,, 412.216.7909


Chef Sonja Finn’s (Dinette) newest endeavor, The Café Carnegie, located at Carnegie Museums of Art and Natural History, now offers Chef Finn’s distinctive brunch menu on both Saturdays and Sundays. The Café opens at 10:30 a.m. on the weekends, and admission to the museum is not required in order to dine. Walk-ins are welcome, though reservations are always recommended.

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CMOA Acquires Kerry James Marshall Painting

December 14, 2016

Contact: Jonathan Gaugler | | 412.216.7909

Pittsburgh, PA…Lynn Zelevansky, The Henry J. Heinz II Director at Carnegie Museum of Art (CMOA), announced today the major acquisition of a new painting by Kerry James Marshall, Untitled (Gallery), 2016.

Marshall, one of the greatest living painters in America today, is best known for his decades-long commitment to reinserting the black figure into the canon of Western art history. This acquisition represents an important development in CMOA’s relationship with the artist. For the 1999 Carnegie International, Marshall produced RYTHM MASTR, a multipart comic strip published in the Pittsburgh Post-Gazette that was used to paper over display case windows at the museum. At the time, Marshall’s work did not enter the collection, so this acquisition fills a gap in CMOA’s holdings, while also reflecting on the legacy of the International.

Woman in patterned skirt stands against gallery wall next to framed photograph

Kerry James Marshall, “Untitled (Gallery),” 2016, Acrylic on PVC panel, 60 ½ x 48 ½ in., Carnegie Museum of Art, The Henry L. Hillman Fund, 2016.52, ©Kerry James Marshall

Untitled (Gallery) depicts a single female figure posing as if for a snapshot against the white wall of a gallery lined with framed black-and-white photographs. Spotlights illuminate the artworks, creating concentric rings of light on the wall. Beside the figure hangs a photograph of a nude woman lying on a bearskin rug in front of a fireplace—a familiar pinup trope but also a reference to glamorous 1930s Hollywood production stills. The juxtaposition prompts a host of questions: Is the subject of the painting also the subject of the photograph? Is she the artist? The curator or perhaps the gallerist? In addition to its many possible interpretations, Marshall’s painting demonstrates his mastery of the medium and his encyclopedic knowledge of its history at each turn.

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