The evocative power of sculpture seems boundless in the hands of five living women artists whose work fills the Amon Carter’s gallery dedicated to regional artwork. Texas-based artists Celia Eberle, Kana Harada, Sharon Kopriva, Sherry Owens, and Linda Ridgway take the traditions of sculpture in new directions for the twenty-first century. Allusions to nature and human figures connect the diverse themes present in their work, which range from evocations of history and metaphor to explorations of memory, myth, and ritual.
Eberle, Harada, Kopriva, Owens, and Ridgway work using a wide-... Read more
Wild Spaces, Open Seasons: Hunting and Fishing in American Art is the first major exhibition to explore the multifaceted meanings of such outdoor subjects in both painting and sculpture from the early nineteenth century to World War II. These aesthetically rich and culturally important works play an influential role in the history of American art.
American artists’ fascination with depicting hunting and fishing was often informed by their own experiences as practitioners and was more than merely a way of commemorating outdoor traditions. Approximately 60 paintings and... Read more
From giving something your “best shot” to feeling like a “fish out of water,” metaphors and imagery from the sports of hunting and fishing permeate American culture. Inspired by the coinciding exhibition of paintings and sculpture Wild Spaces Open Seasons: Hunting and Fishing in American Art, this selection of works on paper explores the popular outdoor subjects that have captivated American artists for centuries. Whether lithographs produced by the popular... Read more
Over the decade, North Texas photographer Dornith Doherty has traveled the globe to construct a visual meditation on the planet’s botanical diversity by showcasing the work of international seed banks and sharing the pure aesthetic pleasure of seeds and their transformations into plants. This exhibition celebrates the completion of that project. At a time when some ecologists are suggesting that we are losing more than ten animal and plant species each day, the display provides eloquent confirmation of the close relationship between botany and biophilia.
Large print labels are... Read more
We often think of nature as that which stands beyond humanity and culture as that which reflects people’s achievements. But rarely is the matter so simple. This exhibition explores different facets of the dichotomy. Besides reflecting on how nature counterpoints and enlivens our built environment, the show recognizes the more problematic use of the term, and its cousin “natural,” when applied to snapshots, portraits, and Native American cultures.
Large print labels are available for use in the exhibition.
Free tours of this exhibition are available upon advance request.... Read more
A fitting companion and contradiction to the celebratory exhibitions Wild Spaces, Open Seasons and Caught on Paper, the film Hugh the Hunter engages with contemporary issues of race, class, and the practice of hunting.
Oscar-nominated documentary director Zachary Heinzerling filmed Hugh Hayden, a New York-based sculptor, taking on the persona of the lord of a Scottish estate... Read more
For his sculptural installation Trace, Texas-based artist Darryl Lauster (b. 1969) created ten fragmentary Carrara marble tablets and carved phrases in them using a font reminiscent of monuments. The blocks of stone seemingly speak essential truths—such as language from American founding documents, various militia and splinter group manifestos, and parts of the inscription on the Statue of Liberty—uniting fundamental phrases intended for entirely different purposes and obscuring their original meanings. Because the stones appear to be broken pieces of a full inscription, any overarching... Read more
The Amon Carter has commissioned a large-scale, site-specific installation of more than eighty miles of multicolored thread by internationally celebrated Mexican-born, Dallas-based artist Gabriel Dawe.
Words cannot do justice to the transformative power of Dawe’s sculptural marvels, which he weaves from thousands of thin strands. They look like frozen light and Technicolor vaporous mist, drawing attention to the majestic architecture and natural light of the museum’s Atrium, designed by renowned architect Philip Johnson. The Amon Carter will be the home of Plexus no. 34... Read more