The Amon Carter Museum of American Art presents "Stephanie Syjuco: Double Vision," an expansive multimedia exhibition in the Museum’s first-floor galleries. The newly commissioned, site-specific installation by the artist uses digital editing and archive excavation to transform images of renowned works from the Carter’s collection and reconsidering mythologies of the American West.

Reframing iconic works by American artists including Albert Bierstadt, Frederic Remington, and others, Syjuco’s work will highlight the constructed nature of historical narratives and reveal how these works and their presentation can perpetuate colonial lore. New photographs by Syjuco will be mounted on two digitally altered landscapes rendered as murals on the gallery’s 50-f00t-wide and 15-foot-tall walls with floor-to-ceiling fabric curtains that together create an immersive, 360-degree experience.

The mural on the north wall will be a chromolithograph print from the Carter’s collection, The Storm in the Rocky Mountains (ca. 1868), by Bierstadt that has been doubled in places. A Rorschach-esque mirror of itself, the image underscores the projection of promise, fantasy, and opportunity historically placed on western land. Additionally, the mural image will extend beyond the border of the landscape to reveal color-management by both artist and Museum - the printer’s color checking as well as a digital color bar from the Carter’s photo studio. Mounted on top of the vinyl mural will be images Syjuco took of White male hands depicted in works throughout the Museum’s western art holdings often in the act of controlling, whether pointing, grasping, or handling items such as reins, ropes, and weapons.

The mural on the south wall will feature a different chromolithograph from the Carter’s Bierstadt holdings, The Rocky Mountains, Lander's Peak (1869). The image will be rendered in chroma key, a kelly-green color often associated with green screens, signaling space that will be manipulated in post-production. This vibrant tonal quality alludes to the pre-existing inhabitants, communities, and infrastructures that are “edited out” in many narratives of western settler expansion.

On top of the vinyl, Syjuco will mount large printed photographs of Remington sculptures from the Carter’s collection that she will carefully stage to contain photographic and cataloging tools often hidden from public view - color correction cards, identification tags, and measuring devices. The works will be intentionally captured from rear angles against a dark black background to remove them - literally and metaphorically - from their customary pedestals.