This Week in the Arts features an interview today with Sedrick Huckaby and Tyler Green, two of the panelists at a free program tonight at the Amon Carter Museum. Huckaby and Green, along with Kimberly Davenport, will speak about their success in the visual arts as young adults. Check out the interview and join us for the program this evening!
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 firstname.lastname@example.org to register.
Even if you’re not planning to be in Fort Worth anytime soon, you can still see works from the Carter’s permanent collection on loan to museums all over the country.
- The Carter’s 1870 Cartleton Watkins photograph, Commencement of the Whitney Glacier, Summit of Mt. Shasta, is on view at the Turtle Bay Exploration Park in Redding, California in the exhibition The Art of Mt. Shasta until May 2.
- Seven paintings and sculpture by Charles M. Russell are on loan to the Gilcrease Museum in Tulsa as part of the exhibition The Masterworks of Charles M. Russell: A Retrospective of Paintings & Sculpture through May 2.
- Georgia O’Keeffe’s painting, Series I–No. I, is on view until May 9 at the Phillips Collection in Washington DC as part of the exhibition O’Keeffe and Abstraction.
- Seven daguerreotypes and two cyanotypes from the Carter’s photography collection are included in a special education & connoisseurship gallery in the Dallas Museum of Art’s exhibition The Lens of Impressionism: Photography and Painting Along the Normandy Coast, 1850-1874 through May 23.
- A daguerreotype portrait of James K. Polk from the 1840s is on view at the San Diego History Center through June 6 for the exhibition Faces of the Frontier: Photographic Portraits from the American West, 1845-1924.
- The Carter’s Stuart Davis painting Egg Beater No. 2 is on loan to the Newark Museum until May 23 for the exhibition Constructive Spirit: Abstract Art in South and North America, 1920s-50s. This exhibition will then travel to the Carter, opening June 26.
- Thirteen photographs by Eliot Porter and Todd Webb and Georgia O’Keeffe’s painting Dark Mesa with Pink Sky are on view at the National Cowgirl Museum in Fort Worth through September 6 in the exhibition Georgia O’Keeffe and the Faraway: Nature and Image.
Eliot Porter, [Trip down Colorado River with Georgia O'Keeffe and Porter family (Steve and Kathy)], dye imbibition print, 1961, © 1990 Amon Carter Museum
I stumbled across this image a while back and have been looking for a reason to post it ever since. Spring's late arrival in North Texas seems like a good enough reason to me! How better to welcome sunshine and warm weather than by throwing on your favorite toga and running around barefoot in the woods?
(This is actually a portrait of German opera singer Johannes Sembach (1881-1944) in costume, probably taken during his tenure at the Metropolitan Opera.)
Karl Struss, [Johannes Sembach in costume standing beside lake], autochrome, ca. 1918
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 email@example.com to register.
Kimberly Davenport and El Anatsui in front of his site-specific installation Gli, 2010, Photo: Nash Baker
With the immediacy of camera phones that send multimedia messages and post photos directly to Flickr and Facebook, it’s easy to take digital images for granted these days. When you see images of artworks on a museum’s website, you don’t necessarily think about all the work that went into getting that image (and the accompanying metadata) out there for you to see.
We’ve just passed the halfway point in our NEA grant-funded works on paper digitization project and have thousands of images to show for all of our hard work, which is remarkable because each artwork must be very carefully moved out of storage, shot by the Carter’s photography assistant, and returned to storage. The images are processed and metadata is embedded in each file”¦and all of this happens after the works have been thoroughly cataloged and measured.
Our photography assistant, Rachel, has been trained to handle artworks and makes the day-to-day decisions about the best ways to shoot works on paper whose medium, dimensions, and other needs vary widely across the collection.
Here, Rachel is shooting a Civil War mezzotint from the Carter’s prints collection. She’s using a special camera and studio setup for larger objects in the collection.
And here is the fruit of her labor, an accurate reproduction of the print. Not only will this image end up on the Carter’s website, it will also be used internally by staff from several departments and made available for educational programs and museum publications.
John Sartain (1808-1897), after Peter Rothermel (1812 or 1817-1895), The Battle of Gettysburg: Pickett's Charge, mezzotint, 1872, Gift of Edward L. Mattil
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
Star-Telegram art critic Gaile Robinson writes of the Carter's new special exhibition: "Museumgoers are rarely treated to works on paper shows, and this is an opportunity to see more than 100 pieces by a who's who of America's most famous artists of the past century."
Read what else she had to say about American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art.
This Week in the Arts has posted a great podcast interview with Elizabeth Kornhauser, curator of the exhibition American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art, which is now open at the Carter. She provides a lot of great background information about the artists in the show, how exhibitions are organized, and why these works are rarely seen by the public.
American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art will be on view in the Carter's special exhibition galleries February 27-May 30, after which it travels to the Portland Museum of Art in Maine and back home to the Wadsworth Atheneum in Hartford, Connecticut.
Edited to add: you can also read a great review of this exhibition in the Star-Telegram.
Today is Texas Independence Day, which celebrates the signing of Texas's declaration of independence from Mexico on March 2, 1836. While a convention was gathered in Washington-on-the-Brazos to write the declaration of independence, the two-week long Battle of the Alamo was taking place in San Antonio. Although the battle was a victory for Mexico, it rallied a tremendous amount of support for the Texian army and "Remember the Alamo!" became its battle cry.
This week we have two images of the Alamo, created a century apart. You'll notice the Alamo building, which was partially demolished after the battle, is in really bad shape in the drawing by Edward Everett, who came to Texas in the 1840s to fight in the U.S.-Mexican War. It was then renovated by the time Laura Gilpin took the photo below, a hundred years later.
Edward Everett (1818-1903), Ruins of the Church of the Alamo, San Antonio de BÃ©xar, transparent and opaque watercolor and ink on paper, 1847
Gift of Mrs. Anne Burnett Tandy in memory of her father Thomas Lloyd Burnett, 1870-1938
Laura Gilpin (1891-1979), The Alamo, Source of Texas History, gelatin silver print, 1947
© 1979 Amon Carter Museum, Bequest of the artist