No matter what your age”¦
Artist Unknown , Laura Gilpin, Receiving an Honorary Ph. D. Colorado College, ca. 1970’s, Dye coupler print (Type C), Bequest of Laura Gilpin
or where you go to school”¦
Skeet McAuley, Hogan-Shaped Administration Building, Navajo Community College, Tsaile, Arizona, 1984, Dye destruction print
Congratulations to all graduates!
A few weeks ago I attended the annual conference of the National Art Education Association in Baltimore, where the theme was Art and Social Justice. I must admit that I rarely pay attention to a conference’s theme, but this year was different because social justice is one of my personal passions. Carter educator Sara Klein and I had the opportunity to showcase the Carter’s accessible programs and programs for non-traditional audiences through sessions presented to museum educators across the country, and we gained inspiration by viewing the amazing artworks at the American Visionary Art Museum, which was founded on the principle that art and social justice are inextricably linked.
As an American art museum, I believe that we are perfectly suited to making social justice a priority. Our education programs at the Carter often serve to promote social justice (for example, by making our collection accessible to as many audiences as possible) or feature a social justice theme (like educator workshops centered on immigration). Likewise, many artists in our collection have created poignant visual responses to important social issues. Here are some of the works that strongly resonate with me:
Lewis Hine (1874--1940), Looking for Lost Baggage, Ellis Island, 1905, gelatin silver print, P1981.80.1
Robert Glenn Ketchum (b. 1947), CVNRA, #125 (a toxic waterfall in a national recreation area), 1986, from the project "Overlooked in America: The Success and Failure of Federal Land Management," dye destruction print, gift of Advocacy Arts Foundation, ©1986 Robert Glenn Ketchum, P1996.22.3
Reginald Marsh (1898--1954), Bread Line---No One Has Starved, 1932, etching, 1983.83
James Karales (1930--2002), Passive Resistance Training, SNCC, 1960, gelatin silver print, © Monica Karales, P2008.18
Social justice is often achieved through dialogue. Make your voice heard about museums and social justice by posting a comment below.
This short film came across my desktop this week and made me stop and think about the nature of art and how it is perceived. The video comes from a school in Liverpool, England, and is one of a series of films featuring art that is installed in their school. I found this especially interesting because the artist being discussed, Dan Flavin, has one of his works installed at the Modern Art Museum of Fort Worth. Why not stop by the Modern and form your own conclusions about this artist?
After you view this film, drop by the Carter and make up your own mind about what makes art great and why you like/dislike it. Add your comment to our blog so we can be part of the conversation!
Well, today is the day of our program, Pacesetters in American Art and Culture!
When searching out possibilities, we really wanted to include an artist. We wanted someone who has credentials on multiple levels: schooling, practice, and street cred. Sedrick has all of that. In fact, as his name came up, we realized we had an invitation to an opening of his on our desk, and we had just heard him on the radio. I have included images of a few of his paintings.
Sedrick received his B.FA. from Boston University, his M.F.A from Yale, and also studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Sedrick has had over twenty solo exhibitions all over the country and has participated in at least fifty group exhibitions. He has lectured and participated in discussions at the Trinity Arts conference in Dallas, TX; the Kimbell Museum; the Dallas Museum of Art; the African American Museum in Dallas; Texas, Rush Art, New York, New York; and more.
His work is held in numerous collections including the African American Museum, Dallas, TX; the Fort Worth Central Library; the McNay Art Museum in San Antonio, Texas; The Museum of Fine Arts, Boston; and the Whitney Museum of American Art, New York, New York.
Sedrick has won many awards including a Phillip Morris Fellowship, the Lewis Comfort Tiffany Award, the Dallas Museum of Art’s Anne Giles Kimbrough Grant, the Joan Mitchell Foundation Painters and Sculptors Grant Program award, and a Guggenheim Fellowship Award. Sedrick is represented by Valley House Gallery & Sculpture Garden in Dallas, TX. When I spoke with Sedrick on the phone, I learned that he is teaching some art classes at the University of Texas at Arlington.
My favorite thing about Sedrick Huckaby is that he is a local guy living right here in Fort Worth.
A Love Supreme 2 Summer
Photo by Michael Bodycomb
Big Momma Portrait
Photo by Michael Bodycomb
So, all in all we have an art critic from D.C., a gallery Director from Houston, and an artist from Fort Worth. Come and hear what they have to say during tonight’s program, Pacesetters in American Art and Culture.
Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 to register.
This Thursday, March 25, come to our panel discussion, Pacesetters in American Art and Culture! Last week I wrote about the inspiration of this program and introduced one of our three panelists, Kimberly Davenport.
Today, I want to talk about Tyler Green. Tyler Green is an art critic based in D.C. who has a blog called Modern Art Notes (MAN). If you follow our blog, chances are you have read his! He has a readership of over 10,000 unique readers per week and covers a variety of topics, exhibitions, and interesting occurrences in the art world, including one of my favorites---the Super Bowl wager between the Indianapolis Museum of Art’s director Max Anderson and the New Orleans Museum of Art’s director E. John Bullard.
Tyler is a natural fit for this program because our staff reads his blog and, frankly, are interested in what he has to say---and feel the art world is as well. His writing can be friendly, fierce, informative, and persuasive, which makes me feel there is something for everyone---it’s a nice surprise to see what’s next. The Wall Street Journal has called MAN “the most influential of all visual arts blogs,” and newspapers such as the New York Times, the Los Angeles Times, and the Wall Street Journal have all credited MAN with breaking stories that they later covered.
Tyler has an extensive resume. He has written for Fortune, Conde Nast Portfolio, Smithsonian, Washingtonian, the New York Observer, LA Weekly, Black Book magazine, and more. He has served as an art critic for Artnet Magazine and Bloomberg News, regularly lectures about art, and was named by the Washington Post in 2008 as one of fourteen young and influential cultural figures active in Washington, D.C. He also lectures regularly about art, including at the Brooklyn Museum, the Indianapolis Museum of Contemporary Art, George Washington University, Detroit’s College for Creative Studies, Artissima in Turin, Italy, and more than I can name here.
All this, and I heard a rumor that he used to be a sports writer!
There is still room to come and see the man behind the blog during our free public program Pacesetters in American Art and Culture! Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 or e-mail email@example.com to register.
I am very excited to announce our upcoming program Pacesetters in American Art and Culture on March 25. This program was inspired by the special exhibition American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art on display through May 30.
To fully understand the inspiration for this program, we must look to A. Everett “Chick” Austin Jr. He was a dynamic man who became director of the Wadsworth Atheneum (from which this exhibition hails) in 1927 at the young age of 26. From there he threw lavish parties, helped introduce America to modern art, and energized all who came in contact with him–a true pacesetter in American art. His legacy for collecting new and cutting-edge work continues at the Wadsworth. Last week we held a book club to learn more about Chick Austin (and four others)with the book Patron Saints: Five Rebels Who opened America to a New Art, 1928–1943.
We thought it would be great to showcase individuals who we feel are pacesetters today in the arts and humanities and bring them together to speak about what drives their creativity and how they continue to make innovative and energetic contributions to the arts and humanities as their careers progress.
Leading up to the program on March 25, I will offer a brief introduction to each panelist and explain why we chose them. Our panelists are Kimberly Davenport, Tyler Green, and Sedrick Huckaby.
I first came across Kimberly Davenport about four years ago while visiting a friend in Houston. I heard of the innovative exhibitions at the Rice Gallery (where she is Director) and learned that it is strictly a site specific installation gallery where artists come and create, celebrate, and then tear it all down. This is not the norm for university galleries! Many university galleries house local and some nationally-known artists, a faculty exhibition, senior exhibitions, and then start the rotation over again the next school year. It seems to be the mold that works, and quite well in many places. But, when Davenport became Director of Rice Gallery, she broke the mold. She believed in her dream for Rice Gallery, and the powers that be believed in her. Since starting in 1994, she not only developed the vision and artistic direction for Rice Gallery, but also serves as its curator.
As we began brainstorming potential pacesetters for this upcoming program, Davenport immediately came to mind. Some internet searching revealed that she has had a very interesting career path prior to starting at Rice Gallery. She has also worked as a muralist in Baltimore, was curator of contemporary art at the Wadsworth Atheneum (where our current exhibition is from), and earned a graduate degree in divinity from Yale University. While at Yale, she worked as a graduate assistant for the Department of European and Contemporary Art at the Yale University Art Gallery and was hired on as staff after graduation.
Today, in addition to her duties at Rice Gallery, Davenport is a National Peer of the Design Excellence Program of the United States General Services Administration, and in 2007 served as a member of the GSA’s national Design Awards jury. She is a member of the University of Houston Public Art Committee, as well as the Houston Museum District Association, where she serves as vice president of the board. She holds degrees from the Maryland Institute College of Art and Yale University.
Come and hear more about Kimberly Davenport during our free public program Pacesetters in American Art and Culture and learn about what gets her motivated, how she handles obstacles, and how she continues to grow and change with the arts.
Stay tuned to learn more about our other two panelists!
Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 or e-mail firstname.lastname@example.org to register.
Kimberly Davenport and El Anatsui in front of his site-specific installation Gli, 2010, Photo: Nash Baker
What do you think of when you hear the phrase “modern art?” Multi-colored Marilyns? Blocks of color? These are wonderful examples of the ism that is modern, but our recent special exhibition (and the Carter’s great collection of modern paintings and sculptures) has broadened my horizons. Here are some ideas on how to learn more about modern art before you visit the Carter.
For an informative read on the modern movement, try Why a Painting is Like a Pizza: A Guide to Understanding and Enjoying Modern Art, by Nancy Heller. This easy-to-digest book helps you use analytical skills you already have to “read” modern art and enjoy it. This book is available from the Fort Worth Public Library or through your local book retailer.
Here are some links to sites about artists in this exhibition and in our permanent collection:
Alexander Calder Foundation
Georgia O’Keeffe Museum
Edward Hopper Scrapbook from the Smithsonian American Art Museum
Robert McChesney (1913-2008)
Transparent and opaque watercolor over graphite on paper
Amon Carter Museum, Fort Worth, Texas, Purchase with funds provided by the Estate of Electra Carlin
Not having grown up in Texas, when I first joined the Carter team I did not realize the significance of Julian Onderdonk’s painting A Cloudy Day, Bluebonnets near San Antonio, Texas. A reproduction of it was hanging in my office when I arrived, and I was not impressed. It was only after the Gallery Teachers and I decided to use it on a tour that I began to appreciate the painting’s aesthetic qualities as well as its importance to the state of Texas.
Julian Onderdonk (1882–1922)
A Cloudy Day, Bluebonnets near San Antonio, Texas, 1918
Oil on canvas
Ruth Carter Stevenson Acquisitions Endowment, In honor of Lady Bird Johnson
Students from Texas are so familiar with these little blue flowers that most of the time they don’t even need to look at the label to figure out what we are looking at. In fact, when we situate students in front of this painting they can hardly wait to start talking! I apprise students of my non-Texas-native status and they are thrilled to tell me why this flower is so important to the state (for those of you who don’t know bluebonnets are the official state flower of Texas. A springtime Texas tradition is to take photographs of kids and pets nestled among the bluebonnets.). They also warn me not to pick bluebonnets in the wild (a commonly held belief is that it is illegal to pick wild bluebonnets in the state of Texas). Once we establish what we are looking at (field of bluebonnets), where we are (just outside of San Antonio, Texas), what season it is (bluebonnets bloom in the spring), we begin our multi-sensory approach to experiencing this work of art.
As the students and I begin our imaginary trek on the path that cuts through this field of bluebonnets, I ask them to stop and take look around to tell me what they see. The value in stopping and just looking is apparent when students begin to describe their bluebonnet surroundings. They notice (of course) the bluebonnets, but then they take in the tall, gangly trees on the left with the green tufts of leaves and contrast them with the delicate, wispy trees on the right that are just starting to blossom with the slimmest white buds. They explore the scene a little more and discover the hills in the background as their eyes begin to look upward to the sky. Students often remark that in a painting so full of blue that it’s hard to tell where the bluebonnets end and the sky begins.
We move on to our next sense as we are standing on the path. I ask the students to close their eyes, inhale deeply, and tell me what they think they would smell. Fresh air, rain, dirt, and the country are all frequent answers. My favorite has to be “it would smell like when you pull towels out of the dryer and stick your face in them.” Yes, this field of bluebonnets would smell exactly like a face-full of clean towels.
This seemingly silent scene seems to spring to life when I ask students to listen for sounds. We frequently hear birds chirping and tweeting high up in the trees. As soon as one student mentions that we might hear a bee, one by one each student begins to buzz until we have a gallery that would make a beekeeper smile. Every once in a while we encounter a snake on our walk. Slowly the students start hissing and suddenly one snake becomes a nest of snakes as we talk about all of them slithering through the bluebonnets. Students like to point out that we probably wouldn’t see the snakes in the tall bluebonnets, but we would hear them.
We stop again on the path and this time I ask the students to pretend to take off their shoes. As we take a few barefoot steps I want them to describe what they feel underneath their feet. This is their chance to practice using texture words: hard, rough, gritty, bumpy, course, dusty, rocky, and dry. Next I ask them to imagine that it had rained earlier in the day and to take a few steps. Now the fun texture words enter into our conversation: squishy, soggy, muddy, sticky, gooey, jelly-like, and slippery.
As we near the end of our walk through the bluebonnets I can always tell that they students are wondering what I am going to have them taste. Rather than having them eat a bluebonnet, I tell them that we are going to have a picnic and they get to pick what they would like to pack in their picnic baskets. After a little encouragement, students are very excited to talk about their food choices. Sometimes their lunches are inspired by the bluebonnets and include grape jelly sandwiches, purple Gatorade, blue raspberry Jolly Ranchers candy, blueberry pie, red grapes, berry Fruit Roll Ups, and grape soda. Other times students are truly thinking with their stomachs and say they would pack chocolate cake, hamburgers, nachos (with jalapenos), sandwiches, fruit, cookies, Happy Meals, and their mom’s meatballs. One of my favorite taste-related responses was from a student who requested to have a pizza delivered to our field of bluebonnets. I don’t think pizza would taste quite as good anywhere else.
As you look at and think about A Cloudy Day, Bluebonnets near San Antonio, Texas, I invite you to use the same multi-sensory approach as we use with students. Where do your eyes take you in this work of art? What does the country-side smell like to you? If you listen closely, what do you hear? Run your fingers along the delicate tops of the flowers; how does it feel? Finally, what meal would you eat in this glorious field of bluebonnets?
Isn’t the Internet great? There is so much good information at your fingertips and, sadly, so much bad information too. The Teaching Resource Center offers an online tool that helps you find classroom-worthy content. Look for grade level appropriate Web links on the Teaching Resource Center's del.icio.us bookmark page. Here at the Carter we talk about a wide variety of subjects and this is reflected in the tags used to describe the selected Web sites. Look for Highly Recommended and TRC-Materials-Available tags for Web pages that directly support art on the walls and ongoing conversations in the galleries.
Check out these helpful links for classroom activities in February ”¦
This small digital collection from the libraries of the University of South Carolina features newsreels of African Americans selected from the period of 1919 to 1963 when "Fox News and Fox Movietone News camera crews covered the people and events of the country and, indeed, the world." Some of the clips include the third anniversary of Tuskegee Army Airfield, Josephine Baker in the Netherlands, and Jack Johnson's Jazz Band.
Examples by African-American artists of writing, music, and art during the 1920s and 1930s are well represented in the vast collections of the Library of Congress. This guide presents the Library's resources as well as links to external Web sites.
This site offers thematically categorized selection of images from the New York Public Library and the Schomburg Center for Research in Black Culture. Topics covered range from the Civil War to Social Life and Customs.
Geoge Bellows, Sixteen East Gay Street, Lithograph, ca. 1923-924
Did you know that the artist known as the father of American landscape painting was born in England? Born in the industrial center of Bolton-le-Moors in 1801, Thomas Cole immigrated to America in 1818. His masterpiece The Hunter’s Return (1845) visually demonstrates the principles of landscape painting he put forth in his artist manifesto “Essay on American Scenery” penned just nine years earlier.
Cole challenged his fellow artists to look around their own backyard and capture the unique beauty of the United States, rather than the European scenes and styles he felt many American artists were then using. He believed that American landscapes should include five crucial elements: wildness, mountains, water, forests, and sky. Can you find them all in The Hunter’s Return?
Besides championing a uniquely American style, Cole also was forward thinking in terms of the environment. After describing the beauty of the American landscape, toward the end of his Essay he remarked
Yet I cannot but express my sorrow that the beauty of such landscapes are quickly passing away---the ravages of the axe are daily increasing---the most noble scenes are made desolate, and oftentimes with a wantonness and barbarism scarcely credible in a civilized nation. The wayside is becoming shadeless, and another generation will behold spots, now rife with beauty, desecrated by what is called improvement; which, as yet, generally destroys Nature’s beauty without substituting that of Art. This is a regret rather than a complaint; such is the road society has to travel; it may lead to refinement in the end, but the traveller who sees the place of rest close at hand, dislikes the road that has so many unnecessary windings.
Look again at The Hunter’s Return. What visual evidence do you think Cole has included to express his concern about westward movement?
Over 150 years later, American artists are still grappling with how the environment is changing. Next time that you’re at the Carter, make sure to visit Cole’s work and tip your hat to this American painting pioneer!