This is the first comprehensive museum exhibition on Norman Lewis (1909–1979), which explores his influential role in American art from the 1930s through the 1970s. Lewis was a pivotal figure in the Harlem art community and the abstract expressionist movement; he was also a politically conscious activist who was able to reflect the currents of the civil rights movement in his abstract work.
Identity explores how identity in American culture is often as much about how people present themselves to the world as it is externally determined. Exploring community, celebrity, and individual identity through portraiture from the Amon Carter’s permanent collection, the exhibition highlights the exciting new acquisitions of Sedrick Huckaby’s The 99% and Glenn Ligon’s print series Runaways.
This inaugural presentation of renowned photographer Anthony Hernandez’s newest project evocatively explores Americans’ penchant for discarding what we no longer want through images of buildings, people, and the land east and northeast of Los Angeles, California. Despite their challenging subject, these large photographs lure us in with their light-struck atmosphere, color, and space.
This installation of lithographs features works by sculptor Louise Nevelson (1899–1988) created between 1963 and 1967 at the Tamarind Lithography Workshop in Los Angeles. These prints share with her sculpture an interest in silhouetted forms and the layering of elements, but distinguish themselves by their vivid color.
Texas Folk Art features the spirited work of some of the state’s most original painters and sculptors, including H. O. Kelly, Reverend Johnnie Swearingen, Velox Ward, and Clara McDonald Williamson, among others. Developing their own styles, these artists were unfettered by the conventions of academic training and traditional guidelines of art making. Lively storytelling was their primary focus, and they used any pictorial means necessary to create animated narratives about working, playing, and worshipping in Texas.
A visionary storyteller, Esther Pearl Watson (b. 1973) blends memories and imagination to capture her Texas upbringing. A mural-size painting (about 13 feet tall and 10 feet wide), Pasture Cows Crossing Indian Creek, was created specifically for the Amon Carter’s atrium. It is part of the museum’s program of rotating contemporary artworks in the atrium space and an exciting addition to an ongoing exploration of Texas artists and their contributions to modern American art.