Blogs

40 under 40

Congratulations to Stacy Fuller, head of education, who was named to the Fort Worth Business Press' "40 under 40." The annual awards program recognizes individuals who are "shaping the future of Tarrant County through their business and community involvement."

Stacy joined the museum in 2004, and currently oversees the museum’s extensive and varied education programs, which include school tours, public programs, educator training and workshops, teaching resource center initiatives and distance learning broadcasts. In addition, she has developed and successfully implemented the museum’s highly regarded Sharing the Past Through Art and Connect to Art accessible programs. She was recently named Outstanding Museum Division Art Educator by the Texas Art Education Association and selected as vice president of the Museum Education Roundtable, a national organization dedicated to furthering museum education.

Sedrick Huckaby at the Carter Tonight

Well, today is the day of our program, Pacesetters in American Art and Culture!

I mentioned the program and two of our speakers, Kimberly Davenport and Tyler Green, in earlier posts, so last but not least, let’s talk about Sedrick Huckaby.

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.

Sedric Huckaby, A Love Supreme 2 Summer, Photo by Michael Bodycomb.jpg

A Love Supreme 2 Summer
Photo by Michael Bodycomb

Sedrick Huckaby, Big Momma Portrait, Photoby Michael Bodycomb.jpg

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.

Pacesetters Preview

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!

Tyler Green at the Carter

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.

Photograph of art critic Tyler Green

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 education@cartermuseum.org to register.

Carter Artworks Here and Around the Country

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.


Eliot Porter, [Trip down Colorado River with Georgia O'Keeffe and Porter family (Steve and Kathy)], dye imbibition print, 1961, © 1990 Amon Carter Museum

Photo of the Week: Welcoming Spring

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

Public Program Alert

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 education@cartermuseum.org to register.

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Kimberly Davenport and El Anatsui in front of his site-specific installation Gli, 2010, Photo: Nash Baker

It Works on Paper: Behind the Scenes in the Carter's Photo Lab

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.

Photography assistant Rachel shoots a large print

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.

 Pickett's Charge, mezzotint, 1872
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

Know Before You Go: Modern Art

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
Stuart Davis

Robert McChesney, Variations, 1946, Transparent and opaque watercolor over graphite on paper, Amon Carter Museum, Fort Worth, Texas, Purchase with funds provided by the Estate of Electra Carlin
Robert McChesney (1913-2008)
Variations, 1946
Transparent and opaque watercolor over graphite on paper
Amon Carter Museum, Fort Worth, Texas, Purchase with funds provided by the Estate of Electra Carlin

American Moderns on Paper review

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.