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Icon of American art restored and on view at the Amon Carter Museum of American Art

Wed, 28 Mar 2018 03:12:17 +0000

Release date:  March 28, 2018 FORT WORTH, Texas—The Amon Carter Museum of American Art announces today the conservation and installation of an icon of American art, Diana by Augustus Saint-Gaudens (1848–1907). The 7-foot-tall cement sculpture of the Roman goddess of the hunt was created in 1894 by artist Saint-Gaudens as a gift to his friend, architect Stanford White (1853–1906). Saint-Gaudens was commissioned by White around 1887 to create a sculpture to adorn the top of Madison Square Garden in New York City. The initial version designed by Saint-Gaudens was deemed too large for the building and was replaced with a monumental 13-foot-tall, bronze weathervane of Diana, which adorned the top of the building from 1893 to 1925. White was so enamored with Saint-Gaudens’ sculpture that he asked him for a half-sized version for his own garden. The artist presented a 7-foot-tall cement Diana to White in 1894, and the sculpture resided at White’s estate in Box Hill, New York, for more than 30 years. Today, that remarkable sculpture, a gift from one friend to another, is part of the Amon Carter’s permanent collection and on view for the first time in Fort Worth. “When you see Diana, she may look familiar to you, as the design was one of Saint-Gaudens’ most highly prized creations,” says curator Maggie Adler. “Ours, however, has a unique history as a treasured possession of one of America’s greatest architects and the model on which many other versions were based. I like to think of her as the ‘mother’ of Dianas.” The Amon Carter acquired the cement sculpture in the 1980s along with a bronze companion that had remained in the White Family. At that time, the torso and legs of the cement version—created as two separate pieces—were no longer attached to one another. The sculpture was temporarily restored to exhibitable shape for an extended loan to the Gilcrease Museum in Tulsa. When Diana returned to the Amon Carter in the 1990s, the sculpture, needing long-term attention, stayed in the museum’s storage vaults. In 2017, Adler led a process to return the 124-year-old sculpture back to public view. The museum engaged Adam Jenkins, a Philadelphia-based conservator specializing in large-scale sculpture, to restore Diana to her former glory. Jenkins began by peering inside Diana’s body using gamma radiography to inspect for corrosion. The structure was strong, providing the green light to proceed with conservation. He stabilized surface cracks by injecting adhesive, and devised a 3D printed structure to fit in the torso to provide a stronger connection between the top and bottom. Art handlers and conservators were able to use a mechanized lift to bring the heavy top and bottom halves together for a more permanent fit. “A process like this is one of the most special aspects of a museum professional’s career,” says Adler. “To bring an icon of American art back to public attention feels like bringing history back to life. How fortunate that we can rely on the talent of experts and investigate the past to restore Saint-Gaudens’ vision for future generations.” Diana is currently on view in the Amon Carter’s Main Gallery. The Amon Carter offers a renowned collection of American art housed in a Philip Johnson masterpiece in the heart of Fort Worth’s Cultural District. The museum is open Tuesday–Saturday from 10 a.m.–5 p.m., Thursday until 8 p.m. and Sunday from 12–5 p.m. Closed Mondays and major holidays. #amoncartermuseum End [...]



Amon Carter Museum of American Art Presents Major Exhibition of Photographs by Dave Heath

Mon, 19 Mar 2018 17:34:11 +0000

Release date:  March 19, 2018 Fort Worth, TX—The first comprehensive survey of the work of Dave Heath (1931–2016), one of the most original photographers of the last half of the 20th century, opens at the Amon Carter Museum of American Art on June 16. Organized by The Nelson-Atkins Museum of Art, the exhibition Multitude, Solitude: The Photographs of Dave Heath highlights the photographer’s black-and-white pictures of the 1950s and 1960s and centers around his 1965 photobook A Dialogue with Solitude, which is widely considered a masterwork of the period. The exhibition is on view through September 16; admission is free. “This exhibition introduces the deeply humanist, emotionally charged vision of the artist-photographer Dave Heath,” says John Rohrbach, senior curator of photographs. “Inspired by Life magazine, Heath spent his life photographing people on the streets of Philadelphia, New York and cities across the United States, drawing attention to a world framed by solitude, even amidst crowds. Almost entirely self-taught, he was widely acknowledged as a top printer and a respected critic of the photography of his day. He also was renowned as an expert in the art of sequencing for his sensitive poetic explorations of loss, pain, love and hope.” Heath’s photographs are a powerful expression of his emotional life and his concern for interpersonal contact and communion. Abandoned by both parents by the age of 4, he grew up in foster homes and an orphanage in Philadelphia. This experience shaped his creative vision, an expression of a profound sense of pain, loneliness, alienation, longing, joy and hope. Guided by an entirely personal expressive need, Heath used the camera to understand himself and the world around him. “Heath has always, and instinctively, understood the power of sympathetic vision,” says Keith F. Davis, senior curator of photography at the Nelson-Atkins. “His photographs of people are infused with a special emotional directness and power. They reflect a fundamental, and almost tactile, need to connect.” Heath’s interest in photography was sparked in 1947 when he saw Ralph Crane’s photo essay “Bad Boy’s Story” in Life magazine, an article about an alienated boy in an orphanage. He identified with the boy in Crane’s essay and first grasped the power of a photograph to transcend simple reportage. Largely self-taught, Heath studied for a year at the Philadelphia College of Art before working for a commercial photo studio in Chicago. He came to national attention after his move to New York City in 1957, was awarded a Guggenheim Fellowship in 1963, and was included in major exhibits at the Museum of Modern Art, the Art Institute of Chicago and elsewhere. Heath was also a teacher, including stints at Dayton Art Institute, Moore College of Art in Philadelphia and 36 years on the faculty of Ryerson University in Toronto, Canada. He died on June 27, 2016, his 85th birthday. The exhibition includes a space for visitors to reflect on major themes in Heath’s Dialogue with Solitude book, as well as browse various books that inspired the artist. Digital reproductions of two of Heath’s photobooks and an interactive screen about his photographic process is available for visitors to explore. Large-print labels are also available for use in the galleries. This exhibition has been organized by The Nelson-Atkins Museum of Art, which has the largest holding of Heath’s work in the United States. Local presentation is supported in part by a grant from the Arts Council of Fort Worth. A hardcover, 324-page exhibition catalogue of the same name will sell in the Amon Carter’s Store. Free Public Program Guest Curator Lecture Keith F. Davis, Senior Curator of Photography, The Nelson-Atkins Museum of Art June 16, 2 p.m. Davis will speak about the life and work of Dave Heath. End [...]



Amon Carter Museum of American Art Presents A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach

Wed, 03 Jan 2018 22:56:13 +0000

Release date:  January 4, 2018 FORT WORTH, Texas—A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach features extraordinary masterpieces of modern American sculpture by Gaston Lachaise, Robert Laurent, Elie Nadelman and William Zorach. This exhibition of 55 sculptures and 20 drawings from public and private collections addresses the remarkable affinities in the work of these four divergent and competitive personalities, who became preeminent figures of modernism in the United States. The exhibition is on view from February 17 through May 13, 2018, and admission is free. “A New American Sculpture is the first exhibition to investigate the integral relationships between classicism, modernism and popular imagery in the interwar sculpture of Lachaise, Laurent, Nadelman and Zorach,” says Andrew J. Walker, executive director of the Amon Carter. “It’s also the first major sculpture show we have exhibited in more than 15 years, and we are proud to be a co-organizer of this new scholarship along with the Portland Museum of Art in Maine.” Four thematic sections in the exhibition parlay the ideas, influences, sources and techniques that distinguished these artists’ figural sculptures. Related drawings punctuate each section, as the artists at times employed preparatory sketches for their practice or explored ideas on paper after their three-dimensional works were completed. The first section, A New Past, explores how these artists paradoxically looked to the past for innovative ideas. They all studied Archaic, Cycladic, Egyptian, Folk, Indian and Pre-Columbian traditions, as well as African and Oceanic wood carvings. Even though they and their contemporaries labeled these sources “primitive”—a problematic catch-all term that did not distinguish between time periods or cultures—the label implied that these various indigenous traditions were uncorrupted and removed from the artistic conventions of modern Paris or New York. To the four artists, so-called “primitive” sculptures represented a purer, more authentic approach to making art. They each harmonized these different influences with their modernist sensibilities to create unique objects. Zorach, for instance, recalled poses of Cycladic and Egyptian figures when creating a three-quarter view of his daughter, Dahlov, in The Artist’s Daughter (1930). Yet, the sculptor personalized the work through his direct carving methods, even in the unyielding medium of marble, to reveal Dahlov’s tender features at adolescence. Similarly, Nadelman’s wood sculptures, like Dancer (1918), are reminiscent of the 19th-century trade and shop figures that were part of his personal folk art collection. Despite the historic look of Dancer, the subject was based on vaudeville dancer Eve Tanguay, known at the time for her scandalous high kicks. Nadelman and his contemporaries thus emphasized the importance of historic visual culture for their creation of new forms. The second section of the exhibition, A New America, examines the four artists’ integration into the country’s rapidly changing society and its shaping of their artwork. As immigrants seeking kinship in the United States, they sought out likeminded modernists. In New York City, they exhibited in avant-garde venues such as Alfred Stieglitz’s 291 gallery and the Whitney Studio Club (now Whitney Museum of American Art). During the summers, they decamped to the rustic art colonies of the Northeast, where they began collecting the American folk art they appreciated for its craftsmanship and directness of expression. Along with the country’s historical artwork, its popular culture, entertainment and fashion also inspired the artists’ presentation of figures in everyday contexts. Inspired by his experiences in America, Lachaise created his masterpiece, Standing Woman (1912–17), which represen[...]



Amon Carter Museum of American Art Announces 2018 Exhibition Schedule

Mon, 18 Dec 2017 17:57:49 +0000

Release date:  December 18, 2017 FEATURED EXHIBITIONSA New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach February 17, 2018–May 13, 2018 A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach is the first exhibition to investigate the integral relationships between modernism, classicism and popular imagery in the interwar sculpture of Gaston Lachaise, Robert Laurent, Elie Nadelman and William Zorach. Assembled from public and private collections, this exhibition of approximately 55 sculptures and 20 drawings addresses the remarkable affinities between the work of these four divergent and competitive personalities, who redefined sculpture’s expressive potential during the turbulent interbellum period. Known to each other but working independently, these four immigrant artists created figural sculptures that reveal a confluence of sources—from archaism and European avant-garde art to vernacular traditions and American popular culture.A New American Sculpture has been organized by the Amon Carter Museum of American Art and the Portland Museum of Art, Maine. Government support is provided by the National Endowment for the Arts. Foundation support is provided by the Henry Luce Foundation, Inc. and the Terra Foundation for American Art. Local presentation is made possible by the Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee, and Rosalyn G. Rosenthal.  Multitude, Solitude: The Photographs of Dave Heath June 16–September 16, 2018 From a crowd gathered in Central Park to solitary figures lost in thought, Dave Heath’s powerful photographs of loss and hope conjure feelings of alienation and a desire for human connection. Multitude, Solitude highlights the photographer’s black-and-white pictures of the 1950s and 1960s, an intense period of self-discovery and innovation for the artist. During these pivotal years, Heath developed groundbreaking approaches to narrative and image sequence, producing exquisite individual prints; handmade book maquettes; his poetic masterwork, A Dialogue with Solitude; and multimedia slide presentations. His sensitive explorations of loss, pain, love and hope reveal Heath to be one of the most original photographers of those decades.This exhibition is the first comprehensive survey of Heath’s deeply personal early work. Abandoned by both his parents by the age of 4, Heath lived in Philadelphia foster homes and in an orphanage until the age of 16. The turmoil of his childhood profoundly shaped Heath and his artistic vision. Just before his 16th birthday, he encountered a poignant photo-essay about foster care in Life magazine and became intrigued by photography’s potential to transcend simple reportage. Almost entirely self-taught, Heath channeled his feelings of abandonment into a body of work that underscores the importance and difficulties of human contact and interaction. Multitude, Solitude reaffirms Heath’s status as a key figure in 20th-century photography and highlights his deeply empathetic sensibility. Source: Philadelphia Museum of Art ALSO ON VIEWCommanding Space: Women Sculptors of Texas Through November 18, 2018 The evocative power of sculpture seems boundless in the hands of five living women artists whose work fills the Amon Carter’s gallery dedicated to regional artwork. Texas-based artists Celia Eberle, Kana Harada, Sharon Kopriva, Sherry Owens and Linda Ridgway take the traditions of sculpture in new directions for the 21st century. Allusions to nature and human figures connect the diverse themes present in their work, which range from evocations of history and metaphor to explorations of memory, myth and ritual.  In Her Image: Photographs by Rania Matar December 23, 2017– June 17, 2018 This exhibition brings together four bodies of work by the Lebanese-American[...]



Amanda Blake Appointed Director of Education and Library Services at the Amon Carter Museum of American Art

Tue, 12 Dec 2017 15:50:51 +0000

Release date: 
December 13, 2017

FORT WORTH, Texas—The Amon Carter Museum of American Art announces the appointment of Amanda Blake as Director of Education and Library Services. Blake comes to the Amon Carter from the Dallas Museum of Art (DMA), where she served for 11 years, most recently as the Interim Director of Education and Head of Family, Access and School Experiences.

Blake will provide the vision, strategic direction and leadership for the development of the Amon Carter’s programs and projects that connect audiences to the museum. She will join the staff at the Amon Carter on January 15.

“Amanda brings more than 13 years of arts education experience with a focus on initiating and creating opportunities that reach various areas of the community,” says Andrew J. Walker, executive director. “She is creative, innovative and passionate about art, and we are delighted to welcome her to the Amon Carter.”

While at the DMA, Blake oversaw a team of 26 educators who served more than 800,000 annual visitors through adult programs; Arts & Letters Live; family, access and school experiences; interpretation; and the Center for Creative Connections. She expanded program opportunities and directed new educational initiatives for community engagement, increasing earned revenue by 90 percent. Her experience also includes education positions at the Modern Art Museum of Fort Worth, Nasher Sculpture Center and Wichita Art Museum. Blake has presented at more than 20 regional and national conferences and forums of professional organizations such as American Alliance of Museums and National Art Education Association. She earned her Master of Arts in Art History from the University of North Texas and her Bachelor of Fine Arts in Art History and Studio Art from Oklahoma State University.

“I am honored to join the Amon Carter Museum of American Art serving as the Director of Education and Library Services and to work with a dynamic group of museum leaders,” Blake says.  “I am thrilled to continue the wonderful educational experiences currently offered by the museum, and I am grateful for the opportunity to expand and develop the museum’s community outreach and programming initiatives. Throughout my career, I have focused on developing and implementing programs and creating accessibility for underserved audiences, and I look forward to helping shape the next chapter for the Amon Carter with a group of talented education and library staff.”

The Amon Carter offers a renowned collection of American art housed in a Philip Johnson masterpiece in the heart of Fort Worth’s Cultural District. The museum is open Tuesday–Saturday from 10 a.m.–5 p.m., Thursday until 8 p.m. and Sunday from 12–5 p.m. Closed Mondays and major holidays. #amoncartermuseum

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Amon Carter Museum of American Art Receives $150,000 IMLS Grant to Support Photography Project

Tue, 10 Oct 2017 19:02:53 +0000

Release date:  October 11, 2017 FORT WORTH, Texas—The Institute of Museum and Library Services (IMLS) has awarded the Amon Carter Museum of American Art a $150,000 grant to make the personal archives of eight prominent American photographers of the 20th century available online. The museum acquired the archives of artists Carlotta Corpron, Nell Dorr, Laura Gilpin, Eliot Porter, Helen Post, Clara Sipprell, Erwin E. Smith and Karl Struss between 1979 and 2006. The photographs were previously digitized and now the museum has the support to capture approximately 40,000 unpublished documents and other items, providing researchers the means for deeper understanding of these photographers’ lives and their work. “Our archives document a period when photography was being shaped into an accepted art form,” says Jonathan Frembling, archivist and reference services manager at the museum. “These photographers were in communities that were making great photography—places like New York City in the early 20th century and Taos and Santa Fe in the ‘30s and ‘40s—and they were the colleagues, collaborators and competitors of the big artists, in all media, of their day.” The items will be digitized over a three-year period ending in fall 2019 and will include correspondence, manuscripts and three-dimensional objects such as cameras. The grant has allowed the museum to hire two full-time staff for the duration of the project to photograph and create detailed descriptions of the items. At the end of the project, a new search interface available on the museum’s website will enable scholars and the general public to search across these collections, allowing them to discover connections between documents and related photographs. As an added benefit, digitization also serves a preservation role by reducing the handling of original items. “Stewardship of the archives of photographers who have defined the medium is just as important as adding contemporary works to the collection,” says Andrew J. Walker, executive director. “Sharing their work with the larger community through this support from IMLS is an honor.” The Amon Carter Museum of American Art houses one of this country’s most important collections of American photographs. An integral part of the institution’s program since its opening in 1961, the collection includes over 45,000 exhibition-quality photographs by more than 450 photographers. The holdings span the full history of the photographic medium, from one of the earliest daguerreotypes made in this country to inkjet prints being made today. They reflect photography’s central role in documenting America’s culture and history and convey the medium’s development as a significant and influential art form. This grant helps ensure a wider range of the population will have the opportunity to see these works online and encourage visitors to see the artists’ works in person. About the Photography Collection The Amon Carter Museum of American Art is home to over 45,000 exhibition-quality photographs by more than 450 photographers spanning the history of the medium in the United States. The collection began within months of the museum’s 1961 opening. Since then the holdings have grown to reflect photography’s central role in documenting America’s 19th-century culture and history and the medium’s development as a significant and influential art form in the 20th century to the present. Collection highlights include: • Significant holdings of 19th-century landscape photographs, including works by William Henry Jackson, Timothy O’Sullivan and Carleton Watkins • Key works by many 20th-century masters from Berenice Abbott and Ansel Adams to Edward Weston • More than 1,400 early portraits of Native Americans • One o[...]



Amon Carter Museum of American Art Presents "Wild Spaces, Open Seasons: Hunting and Fishing in American Art"

Mon, 24 Jul 2017 19:11:43 +0000

Release date:  July 25, 2017 FORT WORTH, Texas—The Amon Carter Museum of American Art will host the first major exhibition in the United States to explore the multifaceted meanings of hunting and fishing in both painting and sculpture from the early 19th century to the mid-20th century. Wild Spaces, Open Seasons: Hunting and Fishing in American Art is on view October 7, 2017, through January 7, 2018, and features more than 60 paintings and sculptures that together demonstrate the aesthetic richness and cultural importance of hunting and fishing in America. Admission is free. “Hunting and fishing is a subject that captivated artists throughout the 19th and 20th centuries,” says Amon Carter executive director Andrew J. Walker. “Not mere pictures of wild game and fish, these paintings and sculpture show that the relationship between man and nature defined the American experience for artists as broad reaching as Winslow Homer and Charles M. Russell.” Wild Spaces, Open Seasons includes a wide variety of genre scenes, landscapes, portraits and still lifes, including iconic and rarely seen works by Thomas Cole, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, Andrew Wyeth, as well as key pictures by specialists such as Charles Deas, Alfred Jacob Miller, William T. Ranney and Arthur Fitzwilliam Tait. In addition, the show sheds new light on modernist interpretations of these subjects by George Bellows, Stuart Davis and Marsden Hartley. The works illuminate evolving ideas about community, the environment, national identity, place and wildlife, offering compelling insights into socioeconomic issues and cultural concerns. Capturing a communion with nature that was becoming increasingly scarce over the decades, many artists alluded to the country’s burgeoning industrialization and urbanization at the turn of the century. The exhibition is organized into six thematic sections: Leisurely Pursuits, Livelihoods, Perils, Communing in Nature, Myth and Metaphor, and Trophies. Leisurely Pursuits examines representations of hunting and fishing as recreational pastimes, often the province of society’s upper echelons, and the role of art making in navigating the social codes of leisure. Despite its European aristocratic origins, the hunt as an upper-class social ritual with strict codes of etiquette infiltrated but morphed in American democratic society. The portraits in this section display how the European tradition of representing sitters as gentleman-hunters was transformed in the American context, where hunting was central to the rugged exploits of folk heroes like Daniel Boone and later became legitimatized as a popular, hyper-masculine sport in the era of Theodore Roosevelt. Livelihoods features images of commercial enterprise, necessity and sustenance involving different social strata. Many people—guides, frontiersmen, trappers—depended on the bounty of the forest and waterways for their well-being. While America’s expanding agricultural prosperity made hunting for sustenance less of an imperative, the fur trade and commercial fishing still generated income. The paintings in this section explore the ways in which hunting and fishing became a means of financial reward. Suspense-filled and often sublime depictions of close calls, tights spots and struggles to the death fill the Perils section. Such artworks enjoyed great popularity in America during the second half of the 19th century. Whether for commerce, sport or sustenance, hunting is fraught with a host of potential perils, including harsh weather, human error, rugged terrain, territorial disputes and wild animals. These works served as both spectacles intended to excite viewers, as well as visual metaphors for man’s attempts to tame the wilderness. As the co[...]



Amon Carter Museum of American Art Presents Third Annual Party on the Porch on September 23

Wed, 19 Jul 2017 15:15:57 +0000

Release date:  July 19, 2017 FORT WORTH, Texas—Party on the Porch returns to the Amon Carter Museum of American Art for the third year on Saturday, September 23 from 6–10 p.m. with more sound, more food and more Fort Worth! The community is invited to attend this free event with art, live music, food trucks and cash bars. Outside on the plaza, partygoers can listen to three exciting bands with local roots—Green River Ordinance, Matt Tedder Trio and Summer Dean—dive in to Fort Worth’s delicious food-truck fare, and purchase beer and wine. Guests may also preorder Central Market Picnic Packs by calling 817.377.9307; the food baskets will be at Central Market’s onsite store for pick up, as well as an assortment of food and beverages for purchase. The porch will light up throughout the evening with special effects provided by Inside Image Design. Pan Ector is back by popular demand with their Fort Worth-themed T-shirts that are screenprinted onsite. The live music kicks off at 6:30 p.m. with the self-styled “AmeriTonk” sound of the soulful country artist Summer Dean. She is followed by the Matt Tedder Trio, whose music blends classic rock, blues and modern folk. Headlining Party on the Porch is Green River Ordinance with their grounded sound of country, rock, pop and folk. Last year the band released their third studio album Fifteen. “The first two years of Party on the Porch were so much fun, and we could not be happier to be back again with this event for Fort Worth on September 23,” says Andrew Walker, executive director of the Amon Carter. “The combination of live music, food, art and community can’t be beat.” Extended gallery and Museum Store hours (until 9 p.m.) allow guests to enjoy the artwork inside and have time to shop. Docents will be on hand giving tours for those who prefer a guided art experience; artmaking will also be offered. Free parking is available at the UNT Health Science Center lot and east garage on Clifton Street (north of the museum). For more information about Party on the Porch, parking and accessibility, call 817.989.5030 or email visitors@cartermuseum.org. Visit the museum’s website and follow Facebook, Twitter and Instagram for updates. The Amon Carter will close at 5 p.m. and reopen for Party on the Porch at 6 p.m. Will Rogers Road will be closed between Lancaster Avenue and Camp Bowie Boulevard from 8 a.m. to 10 p.m. on the day of the event. Please no pets or outside food or drink. Presenting sponsors are: Baylor Scott & White All Saints Medical Center–Fort Worth, Central Market and Meador Auto Group. Media sponsor is Fort Worth Weekly. End About Green River Ordinance In 2016, Green River Ordinance released its third studio album, Fifteen, an 11-track collection with a simple message—hold fast to the things that are true. Since coming together 15 years ago as teenagers in Fort Worth, the band—Josh Jenkins (lead vocals, acoustic guitar), Jamey Ice (guitars, banjo, mandolin), Joshua Wilkerson (guitars, vocals, mandolin, piano), Geoff Ice (bass, vocals, harmonica) and Denton Hunker (drums, percussion)—has been about the core value of “finding something more,” rather than simply selling records, and the idea of a deeper meaning has remained their central focus ever since. “Throughout the entirety of Fifteen, Green River Ordinance’s harmonies are spot on whether it’s the gritty and rollicking ‘Maybe It’s Time (Gravity)’ or the sweeping ‘Simple Life’ alongside soaring pedal steel and piano accompaniment,” writes Annie Reuter with Sounds Like Nashville. “The album showcases Green River Ordinance’s pop sensibilities and rock influences alongside vivid country storytelling.” Source: Shore Fire Media About Mat[...]



Amon Carter Museum of American Art Presents "Dornith Doherty: Archiving Eden"

Mon, 10 Jul 2017 15:21:59 +0000

Release date:  July 10, 2017 FORT WORTH, Texas—The Amon Carter Museum of American Art presents Dornith Doherty: Archiving Eden on view August 12, 2017, through January 14, 2018. The exhibition of photographs by North Texas artist Dornith Doherty intertwines science and art, showcasing the planet’s botanical diversity through 15 images from seed banks across the world. Admission is free. For nearly 10 years, Doherty traveled the world from Australia to Russia photographing seed banks, which are designed to preserve the world’s crops and plants against species loss brought by blight, development, global warming, pests, unexpected change and war. Long interested in how humans shape the land, Doherty took it upon herself to explore seed vaults and the activities of their research scientists. Starting with a stop at the Lady Bird Johnson Wildflower Center in Austin, Texas, she visited key facilities across five continents, including the Svalbard Global Seed Vault, just south of the North Pole on the Norwegian Island of Spitsbergen. Svalbard is one of more than 1,700 seed banks across the globe, but it is special because it houses duplicate seeds from other vaults to serve as a backup in case of a natural or manmade disaster. Because of its location, Svalbard is better positioned to withstand the potential aftermath of global warming or other manmade global disasters. Besides documenting the appearance of these vaults, the artist created X-rays of a wide array of plant seeds with the assistance of scientists. Doherty then transformed the X-ray images into poetic odes to protecting the world’s botanical diversity. “The artist used a variety of photographic approaches to create these remarkable images that symbolize biodiversity loss,” says John Rohrbach, senior curator of photographs. “A 7-foot-high lenticular construction showing X-rays of 1,400 ash tree seeds collected by the National Center for Genetic Resource Preservation in Fort Collins, Colo., reflects the ongoing decimation of ash trees across North America by the ash tree borer. Her array of five banana-seedling clones illustrates scientists’ race to develop a new banana strain to replace our standard grocery store version, which may soon be lost to blight.” Rohrbach says some ecologists suggest that earth is losing more than 10 animal and plant species each day, and he hopes visitors will ponder the plight of plants across the globe and in their own backyards. “The exhibition asks us to consider the ongoing work of scientists and volunteers who work, far behind the noise of our daily newsfeeds, to protect earth’s botanical diversity,” Rohrbach says. “It is a call to reflect on the beauty, variety, and most of all, the fragility of our world’s plant life.” Dornith Doherty: Archiving Eden was organized by the Amon Carter Museum of American Art. A book of the same name accompanies the exhibition and will be sold in the Museum Store. The artist will present a free lecture and book signing at the museum on November 4 at 10:30 a.m. This program on American art, culture and society is made possible by a generous gift from the late Anne Burnett Tandy. A 2012 Guggenheim Foundation Fellow, Doherty was born in Houston, graduated cum laude with a Bachelor of Arts from Rice University and received a Master of Fine Arts in Photography from Yale University. She currently resides in Southlake, Texas, and is a Distinguished Research Professor at the University of North Texas, where she has been on the faculty since 1996. In addition to the Guggenheim Fellowship, she has also received grants from the Fulbright Foundation, Houston Center for Photography, Indiana Arts Commission, Japan Foundation, United S[...]



Storytime begins June 7 at the Amon Carter Museum of American Art

Wed, 12 Apr 2017 20:38:01 +0000

Release date: 
April 12, 2017

FORT WORTH, Texas—The Amon Carter Museum of American Art invites families with young children to participate in this summer’s free Storytime series, held every Wednesday, June 7 through July 26, from 10:30 a.m.–noon. Storytime presents children’s books and connects them with artworks. The theme for 2017 is Summer Vacation: June 7—Vacation? Staycation!; June 14—Pack It Up!; June 21—Are We There Yet?; June 28—Busy in the City; July 5—Unwind in the Wilderness; July 12—Places to Be, People to See!; July 19—Adventures Await You!; July 26—Eat and Explore!.

“We have eight fun installments of Storytime, so make plans to come once or every Wednesday,” says Jessica Kennedy, public programs manager. “During each Storytime, parents may register their children to win that week’s featured books and a drawing will be held at the end of each program.” Those chosen need not be present to win.

Storytime is sponsored by Joan Trew, Williams Trew Real Estate, and is best for families with children ages 3–8 and their grown-ups. A snack will be provided by GoGo squeeZ. Parents are encouraged to call 817.989.5013 or email education@cartermuseum.org for parking tips. Please tag your photos #amoncartermuseum.

The Amon Carter offers a customized experience for summer school and day care groups on different days. Please call 817.989.5036 or email schooltours@cartermuseum.org to learn more. The museum is open Tuesday through Saturday, 10 a.m.–5 p.m., Thursday until 8 p.m. and Sunday from 12–5 p.m. Admission is always free. Follow us on Instagram, Facebook and Twitter @theamoncarter.

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