A Q&A With Anne Wilkes Tucker

Not too long ago the photography collection at the Museum of Fine Arts, Houston was nonexistent. But thanks to curator Anne Wilkes Tucker, it is now considered one of America's best. Here, she discusses her career, photography and being a woman in the field.

texasmonthly.com: When did you first become interested in photography? What attracted you to the art form?

Anne Wilkes Tucker: I wanted to join the newspaper at college (Randolph-Macon Woman’s College) and the only position available was photographer. The next two years I was the yearbook photographer. I was an art history major and wrote my senior thesis on Alfred Stieglitz. I continued to study photography because (and this is still true) what we don’t know about the history of photography is still greater than what we know. This makes researching the history challenging and fun.

texasmonthly.com: How did you become the curator of photography at the Museum of Fine Arts, Houston?

AWT: I received my masters from SUNY Buffalo, studying with Nathan Lyons and Beaumont Newhall. My mother had remarried and moved to Houston years before. Then my husband got a job in Houston. The day my mother found out we were moving to Houston, Beaumont was giving a lecture at the museum. Mother told him I was moving here and he turned to the director, Bill Agee and said, “You said you wanted a photography curator. One of my students is moving here.” The museum had just gotten a grant from Target stores to purchase photographs. They hired me part-time to do that, and I have stayed for 26 years.

texasmonthly.com: What exactly does your job entail?

AWT: Acquire, exhibit, publish, educate, conserve. Those are the duties of a curator. I recommend acquisitions to the museum trustees and often raise the money for approved acquisitions. I prepare exhibitions and catalogues both from works in the collection and for objects borrowed for specific shows. Some of these shows take hours to prepare and others take years, even a decade. Exhibitions range from small surveys organized by media (collage, color), genre (still life, portrait, landscape) or period (between the wars, contemporary), to single artist retrospectives. I have also organized a few large historical surveys such as the one opening in March: The History of Japanese Photography. I’ve also published two dozen catalogues. Additionally, I work with the education department to prepare wall texts, lectures, and others publications and programs that inform the public about the works in the collection and on display.

texasmonthly.com: The photography collection you have helped put together is ranked among the best in the country. How would you characterize it?

AWT: The collection began with a concentration on American works, primarily post WWII. Then we began to collect European pieces, especially those made between the two wars. I used to joke that when we started, one could throw a dart at Newhall’s history and wherever it landed we needed that photograph or a photograph by that photographer. Slowly, we acquired great photographs by great photographers, and we also began to acquire the work of certain photographers in depth. Now we also have works by photographers from Africa, Latin America, Australia, and Asia. We have also begun to acquire select 19 th century works. Then last year, we committed to purchase the Manfred Heiting collection of 4,100 photographs from 35 countries made between the years 1840 and 2000. Added to the 16,000 photographs that we already owned, it placed us in the top ranks of museum photography collections worldwide.

texasmonthly.com: What do you look for in a photograph?

AWT: I ask myself what does the photographer want me to think? What does he/she want me to feel? Have they chosen the best craft to express themselves, i.e. should it have been in color, not black and white, should the print have been larger or smaller? What do I learn, what do I remember? It is important to me that I remember a picture days and weeks after having first seen it.

texasmonthly.com: How has Houston’s collection changed over the years?

AWT: The collection has changed as the medium has changed. As more photographers choose to work in color, we acquired more color. When photographers began to prefer digital negatives and ink jet prints, we began to collect those. The photographers lead the field. We try to respond to the most compelling new works.

texasmonthly.com: What was your greatest coup? What pieces are you most proud to have in your collection?

AWT: The first “coup” was acquiring a complete set of Robert Frank’s photographs The Americans. We had been working closely

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