Fort Worth Creative Agencies and Campaigns That Reproduce a Work From the Amon Carter Museum

Updated November 2026 · Written and maintained by the Progression Agency strategy team

A campaign layout sets a bold headline across a landscape from a museum collection, and the museum sends it back. The Amon Carter Museum of American Art’s reproduction terms say the image area may not be cut down, masked or overlaid with type, and that an ad using a work must send its layout for approval first. Fort Worth creative agencies that want a Carter painting or photograph in a brand campaign work inside those terms from the first sketch. Progression is based in New York, does Fort Worth creative work from there, and meets clients in Fort Worth when they ask.

A headline set across a painting

A hypothetical campaign layout runs a headline across a gray rectangle marked collection image. The same layout is then redrawn with the type moved into a band beside the image and a caption line under it.

The second layout is the one the request can carry. The first is the one move the terms forbid outright: the image area may not be masked out, cut down, superimposed with type matter, or in any way defaced or altered.

• The first sketch already puts the type outside the image.
• The caption has its own line from the start.
• The layout goes to the museum with the request.
• Nobody redraws a finished campaign after the museum says no.

Fort Worth creative agencies and the Carter’s reproduction terms

The Carter’s Image Requests page tells a requester obtaining images for publication to review the licensing terms of use and submit the request form, and says images acquired for research may not be reproduced without a separate written agreement. The terms of use and the Photo and Video Policy round out what an agency has to read.

The terms are a contract, so the agency builds the layout, the caption and the media plan to fit them before the request goes in. Rights questions go to the Carter’s Rights and Reproductions team or to counsel.

• The Image Requests page: who may ask and how.
• The terms of use: what the layout, the web display and the caption must do.
• The Photo and Video Policy: what a shoot at the museum needs.
• The Copyright page: whose permission is also needed.

The layout markup: each mark checked against the terms

The table walks a campaign layout mark by mark. For each it gives what the Carter’s terms say, what the agency changes and who signs off.

Type beside the image, never on it

The rule applies to the image area, so the headline lives in a band, a margin or a facing panel. A bleed or overprint is a separate request and needs written approval, with the layout sent first.

Crops, bleeds and details asked for in writing

Cropping, overprinting or bleeding to the edge or across the gutter must be requested in writing, with a copy of the layout sent for approval before printing. A detail needs a sketch or marked up photograph and carries the word detail in the caption.

Half a screen, with saving turned off

On the web the image is no larger than half screen size, embedded for viewing only, with download, print, save as, copy and paste disabled. A full screen hero is a different layout.

The caption exactly as the Carter supplies it

The caption carries what the Carter supplies, which may include artist, title, date, medium, credit line, accession number and a copyright notice when required, in immediate proximity to the reproduction. Nothing is edited, omitted or abbreviated without approval.

Four weeks, one contract, one use

The Image Request Form asks that requests be submitted at least four weeks before the materials are needed, and says a request needing new photography may take longer. A request is limited to no more than 20 images, with the artist, title and accession number of each work, and it says whether the whole image or a detail will be used and in color or black and white.

On approval a contract is sent for signature, and image files come after the contract is countersigned and fees are paid. The fees are due within 30 days of the invoice, are not conditioned on whether the images are used, and cover new photography, usage, materials and shipping. The files are deleted after publication, and any reprint or added use needs a new contract. The plain advice is to list every format in the first request.

1. Choose the works and note each artist, title and accession number.
2. Draw the layout and write the full description of the use.
3. Submit the form at least four weeks ahead.
4. Sign the contract and pay the fees.
5. Receive the files, send proofs, and delete the files after publication.

What does the first request list?

Every use: the website, advertising and promotion, streaming video, television and film each appear as separate choices on the form, so the first request names each one the campaign will use.

Who owns the copyright, and who else must say yes

The Carter’s Copyright page says the museum owns the copyright for Carlotta Corpron, Nell Dorr, Scott Gentling, Stuart Gentling, Laura Gilpin, Helen Post, Eliot Porter, Everett Spruce and Karl Struss, and that its Rights and Reproductions team licenses those works. It does not hold the copyright to many works in its collection, and works whose rights holder cannot be found are labeled Status undetermined.

In many cases the Carter owns only the physical object. The applicant gets permission from the copyright owner or administrator, who may set their own procedures and fees, and the applicant agrees to indemnify the Carter against claims including copyright, publicity, privacy and Visual Artists Rights Act claims. Rights questions go to the Carter’s Rights and Reproductions team or to counsel.

• The Carter holds the copyright to nine named artists.
• For many other works the copyright sits with someone else.
• The applicant gets that permission.
• The applicant indemnifies the Carter.
• Rights questions go to the Rights and Reproductions team or counsel.

Pricing a campaign that licenses a museum image

Pricing depends on scope and is quoted after a written scope, and published prices are subject to change. The Carter sets its own fees, which cover photography, usage, materials and shipping and are separate from any copyright owner’s fee.

What Progression quotes

Progression quotes creative work after a written scope. See our digital marketing services page for what the work covers.

A marketing agency in Fort Worth planning a shoot at the museum

Under the Photo and Video Policy, visitor photography is for personal, noncommercial use only with small handheld devices. There is no flash, and tripods, monopods, gimbals and selfie sticks are not permitted. Photography of the exterior and the outdoor grounds is permitted, and photographs taken by visitors cannot be published, sold, reproduced or otherwise commercially exploited.

Staged photography, with or without a hired professional photographer, is not permitted in the museum, including graduations, proms, engagement or bridal portraits and weddings. Members of the media arrange shoots in advance with Communications and Marketing. A brand shoot on museum property starts with a written arrangement from the Carter, not a visitor ticket.

• Visitor photos are personal and noncommercial only.
• No camera supports and no flash.
• No staged photography inside the museum.
• Exterior and grounds photography is permitted for visitors.
• A brand shoot is arranged in advance with Communications and Marketing.

Web, social, print and video as separate uses

The request form lists each use separately. A Fort Worth marketing company plans each version, the website hero, the social post, the print ad and the video, as its own line on the request.

For television, film and video, the Carter asks for a photograph of the image installed on the set and a copy of the production. Social formats that crop square or run full screen need written approval or a different layout.

• The website: half a screen, saving off.
• The social post: a layout that keeps the image whole.
• The print ad: type outside the image, proof approved.
• The video: a set photograph and a copy of the production.

Can a square social crop use the same image?

Only with written approval, or with a layout that keeps the whole image in frame and puts the type beside it.

Proofs, the gratis copy and closing the file

Nine checks sit beside the final proof. Our branding agency page covers identity work that sits around a campaign like this, and our advertising agency in Fort Worth page covers buying.

The last three checks: files deleted after publication, a gratis copy or production copy sent, and any new use put on a new contract.

• Files deleted after publication.
• One gratis copy sent to the Registrar on publication, or a production copy for video.
• Any new use on a new contract.

Who answers which question about a museum image

A campaign touches several offices, and the table sends each question to the right one.

Who can say yes to a campaign?

The Carter, for its part, and the copyright owner, where the copyright sits elsewhere.

Does the Carter grant exclusive rights?

No. The Carter does not grant exclusive rights and may deny any request.

Can a campaign use a visitor’s photo of a work?

No. Photographs taken by visitors cannot be published, sold, reproduced or otherwise commercially exploited.

Does the Carter supply images to photo rental services?

No. The terms say the Carter does not supply images to companies or individuals operating a photograph rental or sales service.

The request form, field by field

The form asks for more than a list of works. The table sets out what it asks and what the agency has ready before the page opens.

Does the status change the request?

The form asks for it, and the Carter’s terms and fees follow from the request. The agency states the brand’s status as it is.

Who fills in the form?

The brand or its agency, with the contract signed by the brand. The Carter sends the contract on approval.

Frequently asked questions