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.
The Amon Carter is delighted to participate in a national tour organized by the Terra Foundation for American Art of Samuel F. B. Morse’s iconic painting Gallery of the Louvre (1831–1833). Though Morse is most widely known as a scientist and inventor, he was a leading artist of his time and served as president of the National Academy of Design. Gallery of the Louvre stands as one of Morse’s last great artistic achievements.
Drawn from the celebrated American Indian art collection of Charles and Valerie Diker, Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection showcases approximately 120 masterworks, including fine examples of basketry, pottery, sculpture, ivories, kachina dolls, regalia, and pictographic arts from tribes across the North American continent. The exhibition provides rare access to many exquisite works from one of the most comprehensive and diverse collections of American Indian art in private hands.
Laura Wilson takes us into a West defined by diverse communities outside the suburban middle-class. This exhibition of more than sixty photographs introduces us to worlds that are hard-bitten and fiercely independent. Framed equally by beauty and violence, the images reflect the artist’s challenge to today’s homogenized America.
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.
Self-Taught Genius: Treasures from the American Folk Art Museum explores the “self-taught” artist as an elastic and enduring phenomenon with powerful and profound implications that have changed over time. More than 100 works of art are on view in this groundbreaking exhibition that highlights the roles of folk and self-taught artists as figures who are central to the shared history of America and whose contributions to the national conversation are paramount.