This installation of Texas paintings captures a pivotal moment in the state’s cultural history. In the 1930s, a group of young artists—including Jerry Bywaters, Alexandre Hogue, William Lester, Thomas Stell, Harry Carnohan, and Coreen Spellman, among others—gained national recognition for their scenic and ideological interpretations of the local environment. Although they depicted the people and landscapes of Texas in identifiable and representational manners, each artist possessed their own style, often combining realism with modernist influences ranging from Cubism to Surrealism.
June Wayne (1918–2011) was an accomplished and diverse artist who worked in a variety of media, including painting, tapestry design, and film. However, she is best known as a skilled printmaker and founder of the influential Tamarind Lithography Workshop (1960–70). Wayne was committed to reviving fine-art lithography, which had fallen out of favor in the United States as a legitimate artistic medium.
American-born James McNeill Whistler (1834–1903) spent his adult life in three of Europe’s most picturesque cities: London, Paris, and Venice. While he is best known for his exquisite painted portraits, he was also recognized as a gifted printmaker who pushed the mediums of lithography and etching into new directions. This exhibition showcases the outstanding collection from the Speed Art Museum and represents the full range of Whistler’s lithographic career, from his early experiments in 1878 to the last works he produced before abandoning the medium in 1897.
This mouthwatering exhibition of sixty paintings explores the art and culture of food, investigating the many meanings and interpretations of dining in America. Depictions of food in art frequently celebrate the pleasures of eating: elegant and orderly arrangements of cookies or cakes, lavish and overflowing arrays of fruit, or the remnants of a gluttonous feast all convey the passion for consumption. Yet paintings of edibles also speak volumes about their cultural context.
Local artist Benito Huerta strives to expand the boundaries of art by creating works that are symbolic, interactive, and relevant to viewers. Having completed many public art commissions, such as designs for Terminal D at Dallas/Fort Worth International Airport and the Mexican-American Cultural Center in Austin, and serving as professor and director/curator for the Gallery at University of Texas at Arlington since 1997, Huerta understands what it means to make artworks that are physically and psychologically integral to the community.
Photographer Kathy Sherman Suder gained international acclaim in 2004 for her poetic, oversized color close-ups of men boxing. Now she returns with an intimate sonnet to urban transit. The culmination of more than six years of photographing people riding the subways of London, New York, and Tokyo, this exhibition of twelve oversized works, reflects a symphony of performance. On Suder’s confined stage, private and public collide, everyone watches each other, and love, friendship, and solitude play out in constant entertaining charge.
This past year Joan and John Richardson, longtime patrons of the Amon Carter Museum of American Art, generously gifted seventeen works on paper to the museum’s permanent collection. This gift encompasses an array of prints and drawings by a diverse group of American artists who worked in different time periods and different regions across the country.