Manhattan Bridge Looking Up by Berenice Abbott, 1936

American Modern: Abbott, Evans, Bourke-White
Amon Carter Museum
October 2, 2010 through January 2, 2011

On October 2, the Amon Carter Museum of American Art presents American Modern: Abbott, Evans, Bourke-White. This special exhibition explores the work of three of the foremost photographers of the twentieth-century and the golden age of documentary photography in America. American Modern will be on view through January 2, 2011; admission is free.

Featuring more than 140 photographs by Berenice Abbott (1898–1991), Margaret Bourke-White (1906–1971) and Walker Evans (1903–1975), American Modern was co-organized by the Amon Carter Museum of American Art and the Colby College Museum of Art in Waterville, Maine. The exhibition is the result of a unique partnership between three curators: Jessica May and Sharon Corwin of the Carter and Colby, respectively, and Terri Weissman, assistant professor of art history at the University of Illinois, Urbana-Champaign. Together, the three curators present the works of these three artists as case studies of documentary photography during the Great Depression and demonstrate how three factors supported the development of documentary photography during this important period in American history: first, the expansion of mass media; second, a new attitude toward and acceptance of modern art in America; and third, government support for photography during the 1930s.

“This exhibition considers the work of three of the best-loved American photographers in a new light, which is very exciting,” says curator Jessica May. “Abbott, Evans, and Bourke-White are undisputed masters of the medium of photography, but they have never been shown in relation to one another. This exhibition offers viewers an opportunity to see works together that have not been shown as such since the 1930s.”

In addition to vintage photographs from over 20 public and private collections, the exhibition also features rare first-edition copies of select books and periodicals from the 1930s. American Modern, May says, “reminds us that documentary photography was very much a public genre—this was the first generation of photographers that truly anticipated that their work would be seen by a vast audience through magazines and books.”

A scholarly catalogue, published by the University of California Press, accompanies the exhibition. The museum has also prepared a mobile tour of the exhibition, which will be available on the museum’s website or on preloaded iTouch devices available for free loan from the Carter’s Information Desk.

American Modern: Abbott, Evans, Bourke-White and its accompanying publication have been made possible in part by The National Endowment for the Arts, The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, and the Robert Mapplethorpe Foundation.

The Fort Worth presentation is supported in part by RBC Wealth Management. Promotional support is provided by Star-Telegram, WFAA, and American Airlines.

In conjunction with American Modern: Abbott, Evans, Bourke-White, the Carter will host the following free public programs:

Saturday, October 2, 10:30 a.m.–3 p.m.

Modern Documents: Photography in 1930s America
Amon Carter Museum of American Art Lectures on American Photography

This scholarly symposium featuring six panelists will reflect on the legacy of 1930s documentary photography in conversations about the exhibition American Modern: Abbott, Evans, Bourke-White.

This symposium on American art, culture, and society by distinguished individuals is made possible by a generous gift from the late Anne Burnett Tandy.

Reservations are required. Boxed lunches are available to preorder for $8. Call 817.989.5030 or e-mail education@cartermuseum.org to register.

Sunday, November 14, 1–4 p.m.

Picture This

Family Funday

Explore photography with your family by discussing artworks in the galleries and taking photographs!

Family Fundays are sponsored by The Junior League of Fort Worth, Inc., and Alcon.

Thursday, November 18, 6 p.m.

Evans in Film

Film Screening and Discussion

Discuss the role of early documentary film in the career of Walker Evans, and view film shorts by Evans and his friends Helen Levitt and Jay Leyda.

Because seating is limited, reservations are required. Call 817.989.5030 or e-mail education@cartermuseum.org to register.

Manhattan Bridge Looking Up by Berenice Abbott, 1936

Programming sponsored in part by KIDS FIRST!

Films are shown in the auditorium at the Modern Art Museum of Fort Worth. Admission is free and open to the public. Seating is limited to the first 250 guests. The age ranges listed below are recommendations. For the most up-to-date information, visit www.themodern.org.

Take a break from the Texas heat and join us for The 2010 Modern Kids – Summer Flicks Series! Share the art of the screen with your children as they watch stories unfold and ideas form in delightful and innovative films. The bonus for seeing these films at the Modern is the opportunity to visit the galleries before or after and experience the wonder of the art as stories unfold and ideas form in paintings, sculptures, installations and videos found in works from the permanent collection.

Make a full day of creative activities at the Modern. Beautiful sketchbooks made of materials that inspire are available for children of all ages free at the front desk any day of the week and the perfect partner to the films showing for the Summer Flicks Series.

KIDS FIRST! is a project of the Coalition for Quality Children’s Media, a nonprofit organization whose goal is to empower children to make wise media choices and to promote quality media products that enrich their lives. www.kidsfirst.org.

Film Schedule

August 10

10:30 am (ages 3-7)
Harold and the Purple Crayon (30 min)

Based on the classic book, these adventures star Harold, an inventive and curious toddler with thoughts, desires and feelings typical of any child his age. In his Crayon World, Harold can muse on questions that all young children naturally wonder about, and he can come up with his own answers.

1:30 pm (ages 8-11)
Beatless Nick (4 min), Pigeon Impossible (6 min), Varmints (24 min), Life on a LimbYellow Sticky Notes (6 min), and Gerald’s Last Day (12 min)

Beatless Nick is a 1950s UPA style animated short about a little beatnik with no sense of rhythm. Nick searches for his cool so he can fit in with the other Beats. In a basement jazz club, Nick tries to impress his friends by performing poetry, jazz, and even interpretive dance. But, his attempts do nothing but empty the club. Just when Nick is about to give up and move to Squaresville, he accidentally discovers a talent for scatting. The Beats love it and Nick finds his cool in his own beatless way. He may stick out like a sore thumb, but that’s because Nick always marches to the beat of his own drum.

Pigeon Impossible is the tale of Walter, a rookie secret agent faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase.

Varmints tells the story of one small creatures struggle to preserve a world in danger of being lost forever through recklessness and indifference.

In Life on a Limb, irreconcilable enemies, a tree and a lumberjack, are stuck in a waiting room together. Inevitably, conflict ensues. Will they end up burying the hatchet?

Yellow Sticky Notes After realizing that yellow sticky note “to do” lists were consuming his life, filmmaker Jeff Chiba Stearns decided to visually self-reflect on his filmmaking journey by animating on the same sticky notes that caused him to ignore major world events for the last nine years. Animation meditation is blended with image, text, and an original musical score by Genevieve Vincent through the creation of a classically animated experimental film that was drawn straight ahead with only a black ink pen on over 2300 yellow sticky notes.

In Gerald’s Last Day, Gerald the dog, an unlikely candidate for adoption, has been scheduled for termination by the pound at 5:00. Today is his last chance to seduce a potential adopter…..can he do it before his time runs out?

7 pm (ages 12-up)
Percy Jackson and the Olympians: The Lightning Thief

Modern and mythical worlds collide in a heroic epic adventure in Percy Jackson & The Olympians: The Lightning Thief. Based on the popular book series by Rick Riordan, the film follows trouble-prone Percy Jackson who finds himself having problems in high school but that’s the least of his challenges. It’s the 21st century, but the gods of Mount Olympus have walked out of the pages of his Greek mythology texts and into his life, and they’re not happy Zeus’ lightning bolt has been stolen, and Percy is the prime suspect. Learning he is the son of Poseidon, the young teen finds himself caught between angry and battling gods, and embarks on a cross-country adventure to catch the true lightning thief and unravel a mystery more powerful than the gods themselves.

August 11

10:30 am (ages 3-7)
Lost and Found (24 min), The Happy Duckling (9 min)

In Lost and Found, little boy finds a penguin on his doorstep, and though at first unsure what to do, the boy becomes determined to help the penguin find his way back home. Even if that means rowing all the way to the South Pole!

The Happy Duckling is an animated adventure set in a pop-up book world. Assembled and led by writer/director Gili Dolev, and accompanied by a whimsical score from composer Mick Cooke of Belle and Sebastian, the film follows the antics of a young boy in his struggles against a stacking duck! In this pop-up book world, expect the unexpected. Surprises aplenty behind every flap opened and every tab pulled.

1:30 pm (ages 8-11)
Against the Grain (2 min), Reach (4 min), Snow Day (2 min), Abridged (4 min), Again and Again (3 min), Kid Show (3 min), Alex and the Ghosts (7 min), and The Girl Who Cried Flowers (25 min)

In Against the Grain, a hapless karate fighter meets his biggest opponent.

In Reach, a tiny robot is given the gift of life with only one limitation, the length of his power cable.

Snow Day Can a helpless T-Rex dinosaur save himself from the impending doom of the Ice Age with only one sock?

Abridged is a romantic comedy set on the Golden Gate Bridge.

Again and Again Tons of cool ways to use a Mac, set to the song of ‘Again & Again’ by the Bird & the Bee.

Kid Show The playful fantasy world of little boys, where you can have weird conversations with the sun, dance around with wiggly arms, and, when your dad tells you to “go to sheep,” your pillow turns into one.

Alex and the Ghosts is a story of childhood magic and wonderment around a legendary hockey team, uniting past and present, reaching out to the youthful hearts of sport fans of all ages.

The Girl Who Cried Flowers is a moving narrative about the beauty of creation and the power of desire brought to life in a painterly watercolor style. In ancient Greece, a mysterious orphan is discovered. At first the local villagers are wary of the strange girl who cries beautiful blossoms instead of tears. But in time they begin to treasure her magical gift and desire her flowers. Olivia, a kind and giving spirit resolves to spend her days thinking sad thoughts and crying mountains of flowers for the insatiable villagers. However, sudden love brings change when Olivia falls for a jovial farmer named Panos. Panos desires nothing from Olivia except her happiness and so, out of love, he forbids her from crying. But the villagers will not simply forsake their beloved “girl who cries flowers.”

7 pm (ages 12-up)
Diary of a Wimpy Kid

The adventures of wisecracking pre-teen Greg Heffley, who must somehow survive the scariest time of anyone’s life… middle school. Convinced it’s the “dumbest idea ever invented,” Heffley considers junior high school a place rigged with hundreds of social landmines, not the least of which are wedgies, swirlies, bullies, lunchtime banishment of the cafeteria floor and a festering piece of cheese with nuclear cooties that he must overcome to become popular. His diary-or “journal”-chronicles his thoughts, tales of family trials and tribulations, and (would be) schoolyard triumphs.

August 12

These films from Mexico are part of the Festival de la Risa Celebration, commemorating the Bicentennial of the Independence and the Centennial of the Revolution of Mexico.

10:30 am (ages 3-7)
Global Wonders: Mexico (32 min)

Trey and Brianna visit Marisa’s home which is buzzing with activity as her family prepares for a Quinceaera celebration for her sister Anna.

1:30 pm (ages 8-11)
La Lune (7 min), Un Duelo (3 min), El Salon Mexico (13 min),
Folktales from Around the World: The Bear Prince (12 min), and Swaying Giants (26 min)

In La Lune, a couple living on top of a bizarre hourglass and under a tree discover the moon accidentally for the first time. The woman’s desire to reach and obtain the moon will lead them to experience things that they have never gone through before. In the end, they would discover new things about themselves and new truth about the world they thought they knew.

In Un Duelo, two hummingbirds engage on a senseless but sometimes funny battle.

El Salon Mexico is a fantasy set in Mexico in the 1800’s when a very young campesino who, along with his burro and rooster, sneaks out of the house one night to see a fiesta for the very first time.

Folktales from Around the World: The Bear Prince is a Mexican tale about a spirit that turns a prince into a bear. When the bear marries a woodcutter’s daughter, he reveals his secret and exacts a promise that she will never tell. In a fit of anger, she reveals it, setting off an extraordinary quest.

Swaying Giants is a documentary about a huge spectacle in Catalonia-the Human Giants. Sisters Laia, age 9, and Maria, age 7, have been practicing climbing these human towers for as long as they can remember, and they want more than anything to climb in the competition.

7 pm (ages 12-up)
*Furry Vengeance
*Film selection subject to change

Furry Vengeance is a live action family comedy in which an ambitious young real estate developer, Dan Sanders, faces off with a band of angry animals when his new housing subdivision pushes too far into a pristine part of the wilderness. Led by an incredibly clever raccoon, the animals stymie the development and teach our hero about the environmental consequences of man’s encroachment on nature.

Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107
Telephone 817.738.9215
Toll-Free 1.866.824.5566
Fax 817.735.1161
www.themodern.org

Museum Gallery Hours
Tue-Sat 10 am-5 pm
Sun 11 am-5 pm

The Museum is closed Monday and holidays including, New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas.

A group of artists from the Texas Artists Coalition (TAC) will meet at the Fort Worth Botanic Garden. Anyone is welcome to join us. Bring your own art supplies for outdoor paintings or drawing, and lots of water. Call Doug Clark at 682.478.8060 for details and exact location of the group. There is no charge for participation. Come at any time Friday morning.

Panel with a seated ruler in a watery cave (Cancuen Panel 3), 795, Cancuen, Guatemala. Limestone, 22 5/8 x 26 1/4 x 3 in. (57.5 x 66.5 x 7.6 cm). Ministerio de Cultura y Deportes—Museo Nacional de Arqueología y Etnología, Guatemala City. Courtesy Peabody Essex Museum, photograph © 2009 Jorge Pérez de Lara

Fiery Pool: The Maya and the Mythic Sea
Kimbell Art Museum
August 29, 2010 through January 2, 2011

Rarely does an exhibition offer an entirely fresh way of viewing the art of a great civilization. Fiery Pool: The Maya and the Mythic Sea at the Kimbell Art Museum does exactly that––by revealing and interpreting the importance of water to the ancient Maya. Shark teeth, stingray spines, sea creatures and waterfowl appear in works of stone and clay; supernatural crocodiles breathe forth rain; cosmic battles take place between mythic beasts and deities—all part of a new and vivid picture of the Maya worldview.

Over 90 works, many recently excavated and never before seen in the United States, offer exciting insights into the culture of the ancient Maya, focusing on the sea as a defining feature of the spiritual realm and the inspiration for powerful visual imagery. Surrounded by the Gulf of Mexico, the Pacific Ocean and the Caribbean Sea, denizens of Maya cities responded to the oceanic, inland and atmospheric waters that shaped their existence.

“In 1986, the Kimbell Art Museum’s landmark exhibition The Blood of Kings: Dynasty and Ritual in Maya Art shed new light on the importance of dynastic lineage and blood sacrifice to the Maya,” commented Eric Lee, director of the Kimbell Art Museum. “Recent archaeological discoveries and the deciphering of the Maya glyph for water have led to a new, broader understanding of the expansive influence that water in all its myriad forms had on both the daily life and spiritual beliefs of the Maya people. This exhibition is the next important chapter in Maya research, and I am thrilled that the Kimbell Art Museum will showcase it.”

At the height of its achievement, between 300 and 900 AD, the Maya civilization spanned hundreds of cities across Mexico and Central America. With a culture highly advanced in mathematics, astronomy, architecture and art, the Maya practiced a complex religion and used a refined pictorial writing system composed of more than 800 glyphs. The interpretation of this language has played a role in the understanding of Maya culture. While 90% of glyphs are now understood, it was only in the late 1980s that a glyph for the sea had been identified. Until this key glyph had been unlocked, the importance of the sea in Maya culture had not been fully studied or appreciated. The identification of this glyph, translated literally as “fiery pool,” was part of a growing awareness of the centrality of the sea in Maya life, which has culminated in this exhibition and its companion book.

The exhibition reflects the broad range of media used by Maya artists: massive, carved stone monuments and delicate hieroglyphs, exquisite painted pottery vessels, charming sculpted human and animal figurines, and a lavish assortment of precious goods crafted from jade, gold and turquoise.

“Not only does this exhibition provide a new understanding of the sacredness of the sea in Maya thought and culture,” remarked Jennifer Casler Price, curator for Asian and non-Western Art at the Kimbell Art Museum, “but the objects presented here are stunning examples of the highest caliber of art, from the monumental to the minute, that the Maya ever produced.”

Surrounded by the sea in all directions, the ancient Maya viewed their world as inextricably tied to water, an idea that is explored in the first section of the exhibition, Water and Cosmos. More than a necessity to sustain life, water was the vital medium from which the world emerged, gods arose and ancestors communicated.

A limestone panel from Cancuen, Guatemala, is an exceptional example of Maya sculpture, depicting a ruler known as Tajchanahk, “Torch‐Sky‐Turtle,” seated on a water-lily throne in the royal court while simultaneously inhabiting the watery realm. A bubbling stream delineates the space, with stylized foliage anchoring the corners. For the Maya, the realms of earth, sea, sky and cosmos may have been perceived as flowing into each other rather than as distinct territories of being.

The world of the Maya brims with animal life—animated, realistic and supernatural all at once. The objects in the second section, Creatures of the Fiery Pool, portray a wide array of fish, frogs, birds and mythic beasts inhabiting the sea and conveying spiritual concepts. An effigy of a Caribbean spiny lobster is the only known Maya representation of the creature, excavated in 2007 from one of the oldest sites in Belize. It dates from the turbulent early colonial period, when traditional Maya life was disturbed by the incursion of Spanish soldiers and missionaries. A plugged cavity bearing a stingray spine, three shark teeth and two blades of microcrystalline quartz hints at blood sacrifice. The head emerging from the mouth may be that of a Maya deity.

The section Navigating the Cosmos explores water as a source of material wealth and spiritual power. All bodies of water––rivers, cenotes (deep, inland pools) and the sea––were united, and all could be traversed to a cosmic realm. A magnificent head of a deity with characteristics of the Sun God––a Belize national treasure––is one of the most exquisite works discovered in the Maya world. Weighing nearly ten pounds, it was created from a single piece of jadeite, the color of which was directly associated with the sea. It was found in the tomb of an elderly man, likely cradled in his arm upon burial at the sacred site of Altun Ha.

The final section of the exhibition, Birth to Rebirth, addresses the cyclical motion of the cosmos as the Maya pictured it. The sun rose in the morning from the Caribbean in the east, bearing the features of a shark as it began to traverse the sky. Cosmic crocodiles exhaled storms and battled with gods of the underworld. An elaborate ceramic incense burner from Palenque, Mexico, portrays a deity central to a creation myth. Water-curls on his cheeks and ear ornaments, which link him to the rain god (Chahk), speak of his connection to the watery world. A shark serves as his headdress, topped by a toothy crocodile. From this censer, ritual smoke curled through the city of Palenque, suffusing it with scent and mystery.

The exhibition is organized by the Peabody Essex Museum, Salem, Massachusetts, and is made possible in part by the National Endowment for the Humanities: Because democracy demands wisdom. Additional support is provided by ECHO (Education through Cultural and Historical Organizations), a program of the U.S. Department of Education, Office of Innovation and Improvement. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. It is co-curated by Daniel Finamore, Russell W. Knight Curator of Maritime Art and History at the Peabody Essex Museum, and Stephen D. Houston, Dupee Family Professor of Social Science and Professor of Archaeology at Brown University, Providence, Rhode Island. The richly illustrated catalogue is published by Yale University Press, New Haven and London, in association with the Peabody Essex Museum. It is available in the Exhibition Shop ($65 hard cover; $39.95 soft cover).

Kimbell Art Museum hours: Tuesday–Thursday and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; Sundays, noon–5 p.m.; closed Mondays. For general information, call 817-332-8451. Web site: www.kimbellart.org. Address: 3333 Camp Bowie Blvd., Fort Worth, TX 76107.

*Admission to view the Museum’s permanent collection is always FREE.

** Admission to Fiery Pool: The Maya and the Mythic Sea is $12 for adults; $10 for seniors age 60 and over, military personnel and students with an ID; $8 for children ages 6–11; and FREE for children under 6 and Museum members. Admission is half-price on Tuesdays and after 5 p.m. on Fridays. Admission to the exhibition is FREE to all every Wednesday and Thursday from 2:30 to 5:00 p.m. (Free hours are unique to the Fiery Pool exhibition and may not be available during other Kimbell exhibitions. Check the Web site for details.)

***Acoustiguide audio tours of the exhibition are available in English and Spanish.

Panel with a seated ruler in a watery cave (Cancuen Panel 3), 795, Cancuen, Guatemala. Limestone, 22 5/8 x 26 1/4 x 3 in. (57.5 x 66.5 x 7.6 cm). Ministerio de Cultura y Deportes—Museo Nacional de Arqueología y Etnología, Guatemala City. Courtesy Peabody Essex Museum, photograph © 2009 Jorge Pérez de Lara

Vernon Fisher: K-Mart Conceptualism is organized by the Modern Art Museum of Fort Worth and the Museum’s chief curator, Michael Auping. The exhibition will be on view from September 25, 2010 through January 2, 2011. Special exhibitions are included in general Museum admission: $10 for adults; $4 for seniors (60+) and students with identification; free for children 12 and under; free for Modern members.

Marla Price, the director of the Modern Art Museum of Fort Worth, announces the forthcoming exhibition Vernon Fisher: K-Mart Conceptualism. The exhibition, including approximately 35 works, is a survey of paintings, sculptures, and installations spanning the late 1970s to the present, including many of the artist’s best-known works, drawn from public and private collections in the United States and Europe.

Born in 1943 at Fort Worth’s Harris Hospital, Vernon Fisher is one of Texas’s most internationally recognized artists. He has lived and worked in Fort Worth since 1977. Fisher received a BA in English literature from Hardin-Simmons University in 1967 and an MFA from the University of Illinois in 1969. Influenced by artists such as Edward Ruscha and John Baldessari, Fisher constructs visual narratives, combining images and language in a wide range of media.

“The show,” Auping comments, “will be a revealing look at a body of work that sprang from an especially interesting moment in contemporary art history in the late 1970s and early 1980s-a time when the legacies of Pop art and Conceptual art created a unique hybrid between painting and installation, inspiring narratives derived from juxtapositions of language and vernacular imagery. The subtitle of the exhibition refers to Fisher’s interest in philosophical enigmas coming out of working-class backdrops and situations.” Fisher explains, “I have an attraction to that kind of subject matter, and have written my share of pieces featuring Dairy Queens, grocery stores, Laundromats, third-rate hotels, etc.”

The exhibition will showcase the early collages that combine abstract painting, text, and image, as well as a selection of many of his best-known blackboard paintings, in which a faux blackboard surface is used as the ground for realistic, painted vignettes adjacent to fragments of different stories that suggest variously ambiguous meanings. A number of large-scale installations will also be included.

Fisher has had over 80 solo exhibitions worldwide. His work is in the permanent collections of more than 40 museums, including the Modern’s. He has received numerous awards throughout his career: the John Simon Guggenheim Fellowship in 1995; the Louis Comfort Tiffany Foundation in 1984; and the National Endowment for the Arts Individual Artist’s Fellowship in 1974-75, 1980-81, and 1981-82. In addition to his artistic accomplishments, he held the title of Regents Professor of Art Emeritus at the University of North Texas in Denton for nearly 30 years and was the recipient of the Distinguished Teaching of Art Award from the College Art Association in 1992.

Accompanying the exhibition will be a book published by the University of Texas Press, with an introductory essay by Frances Colpitt, the Deedie Potter Rose Chair of Art History at Texas Christian University; foreword by Ned Rifkin, Director of the Jack S. Blanton Museum of Art; and an interview with the artist by Michael Auping.

Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107
Telephone 817.738.9215
Toll-Free 1.866.824.5566
Fax 817.735.1161
www.themodern.org

Museum Gallery Hours
Tue 10 am-5 pm (Sep-Nov 10 am-7 pm)
Wed-Sat 10 am-5 pm
Sun 11 am-5 pm

General Admission Prices (includes special exhibition)
$4 for students with ID and seniors (60+)
$10 for adults (13+)
Free for children 12 and under
Free for Modern members
Free the first Sunday of every month and half price every Wednesday

Drawing from the Collection

Join us for Drawing from the Collection, a great way to become acquainted with the Modern’s permanent collection and special exhibitions. Whether you have limited or extensive drawing experience, Drawing from the Collection is an enjoyable afternoon of developing drawing skills by looking and learning from the collection with a different artist each month. This class is open to adults at all skill levels, and is free for members and free to the public with general admission. Gallery admission is free every first Sunday. Bring a sketchbook and pencils or purchase materials from The Modern Shop.

First Sundays, 2-3:30 p.m.
Instructors:
June 13, 20, 27-Trish Igo
July 11, 18, 25-Iris Bechtol
August 1, 8, 15, 22, 29-Elaine Pawlowicz

Drawing from the Collection for Children

This exciting gallery program for children between the ages of 5 and 12 is offered every first Sunday of the month. Children under the age of 6 must be accompanied by an adult during the length of the program. The program is led by an artist who takes participants through informal drawing exercises in relation to works in the collection. Bring a sketchbook and pencils or purchase materials from The Modern Shop. Attendance is limited to 20 participants and spaces fill up fast, so come early to sign up at the information desk. Class is closed to additional participants after 2 pm.

First Sundays, 2-3:30 p.m.
Instructors
July 4-Museum closed for holiday
August 1-Christopher Bond

Wonderful Wednesdays

Wonderful Wednesdays is a free program for families of all ages and is designed as an informal introduction to the Modern’s collection and special exhibitions. Led by a docent, the program focuses on a select number of works in the collection and includes a gallery project designed by the Museum’s education department. Registration is not required. The sign-up sheet is located at the front desk the day of the program. Infants, toddlers, and strollers are allowed. All children must be accompanied by an adult. Admission is free for participants.

Wednesdays, 4-4:45 p.m.
June 9-Visiting the work of Richard Serra and Deborah Butterfield
July 14-Visiting the work of Richard Hamilton and Francis Bacon
August 11 -Visiting the work of Ed Ruscha and Hamish Fulton

Tours

Tours led by Museum-trained docents provide a dynamic experience based on close viewing, analysis, and interaction. All tours are free for Modern members and free to the public with admission to the galleries. All group tours must be scheduled at least two weeks in advance of the requested date. Groups with special needs are welcome. For information or to schedule a tour, please contact the Tour Coordinator at 817.840.2119 or tours@themodern.org.

Public Tours

Docent-led tours are offered Tuesday through Sunday at 2 p.m. An additional tour is available at 11 a.m. on Wednesdays, when gallery admission is half price, and the first Sunday of each month, when gallery admission is free. These tours do not require prior arrangements and begin in the Museum lobby.

Spanish-language Tours

Docent-led tours in Spanish are offered at 2 p.m. on the first Sunday of each month, when gallery admission is free. These tours are open to the public and do not require prior arrangements. Docents are also available to conduct private Spanish-language tours when reservations are made at least two weeks in advance.

Modern Art Museum of Fort Worth
3200 Darnell Street
Fort Worth, Texas 76107
Telephone 817.738.9215
Toll-Free 1.866.824.5566
Fax 817.735.1161
www.themodern.org

Museum Gallery Hours
Tue 10 a.m.-5 p.m. (Feb-Apr, Sep-Nov 10 a.m.-7 p.m.)
Wed-Sat 10 a.m.-5 p.m.
Sun 11 a.m.-5 p.m.
First Friday 10 a.m.-8 p.m.

General Admission Prices (includes special exhibition)
$4 for students with ID and seniors (60+)
$10 for adults (13+)
Free for children 12 and under
Free for Modern members
Free the first Sunday of every month and half price every Wednesday

Cafe Modern
Lunch
Tue-Fri 11 a.m.-2:30 p.m.
Sat 11 a.m.-3 p.m.
Sunday Brunch
11 a.m.-3 p.m.
Coffee bar
Serving Starbucks coffee, snacks, sandwiches, beer, wine, and dessert
Tue-Sat 10 a.m.-4:30 p.m.
Sunday 11 a.m.-4:30 p.m.

The Museum is closed Monday and holidays including New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas.

Café Modern will be closed during the remodeling, which is scheduled to begin August 16, 2010, and will reopen at the end of September 2010, when the project is complete.

Renovation plans include a new cocktail bar, improved acoustics throughout the café area, and an updated sound system. Accompanying the new space will be the addition of a martini and cocktail menu, extended dinner hours, as well as new items on the café’s seasonal menu.

The team overseeing the project includes the architecture firm Kendall/Heaton Associates, Inc. of Houston; CHP and Associates, Inc., a consulting engineering firm, also in Houston; and Thos. S. Byrne, Ltd., a construction firm based in Fort Worth. Peter Edward Arendt AIA, the Museum owner’s representative, continues to serve as Director of Design and Construction.

Cafe Modern

Lunch
Tue-Fri 11 am-2:30 pm
Sat 11 am-3 pm

Brunch
Sun 11 am-3 pm

Coffee bar
Serving Starbucks coffee, snacks, sandwiches, beer, wine, and dessert
Tue-Sat 10 am-4:30 pm
Sun 11 am-4:30 pm

For reservations, call 817.840.2157. Menus are available online at www.thecafemodern.com.

Modern Art Museum of Fort Worth

3200 Darnell Street
Fort Worth, Texas 76107
Telephone 817.738.9215
Toll-Free 1.866.824.5566
Fax 817.735.1161
www.themodern.org

Museum Gallery Hours
Tue-Sat 10 am-5 pm
Sun 11 am-5 pm
First Friday 10 am-8 pm

General Admission Prices (includes special exhibition)
$4 for students with ID and seniors (60+)
$10 for adults (13+)
Free for children 12 and under
Free for Modern members
Free the first Sunday of every month and half-price every Wednesday

The Museum is closed Monday and holidays including New Year’s Day, Independence Day, Thanksgiving, Christmas Eve, and Christmas.

From the Blue Star Museums website:

If you are active duty military personnel and/or an immediate family member, all you need to do is show either a Geneva Conventions CAC ID or a DD Form 1173 ID card at the museum admissions desk. Immediate family members under the age of 10 must be accompanied by an appropriate ID holder.

Here is the current list of Texas museums participating in the Blue Star Museum program:

• Amon Carter Museum
  Fort Worth, TX
• Art Museum of South Texas
  Corpus Christi, TX
• Austin Museum of Art
  Austin, TX
• Brownsville Historical Association
  Brownsville, TX
• Buddy Holly Center
  Lubbock, TX
• Children’s Discovery Museum of the Golden Crescent
  Victoria, TX
• Dallas Heritage Village
  Dallas, TX
• Dallas Museum of Art
  Dallas, TX
• El Paso Museum of Art
  El Paso, TX
• Ellen Noel Art Museum
  Odessa, TX
• Fort Sam Houston Museum
  Ft. Sam Houston, TX
• Frontier Times Museum
  Bandera, TX
• George Bush Presidential Library and Museum
  College Station, TX
• McFaddin-Ward House
  Beaumont, TX
• McNay Art Museum
  San Antonio, TX
• Meadows Museum
  Dallas, TX
• Museum of Fine Arts, Houston
  Houston, TX
• Museum of Geometric and MADI Art
  Dallas, TX
• Museum of Texas Tech University
  Lubbock, TX
• Museum of the American Railroad
  Dallas, TX
• Museum of the Plains
  Perryton, TX
• Museum of the Southwest
  Midland, TX
• Museum of Western Art
  Kerrville, TX
• Nasher Sculpture Center
  Dallas, TX
• National Museum of the Pacific War
  Fredericksburg, TX
• National Scouting Museum
  Irving, TX
• Neill-Cochran House Museum
  Austin, TX
• Ocean Star Offshore Rig Museum
  Galveston, TX
• Pearce Museum
  Corsicana, TX
• Railroad and Heritage Museum
  Temple, TX
• Red River Historical Museum
  Sherman, TX
• Scurry County Museum
  Snyder, TX
• Silent Wings Museum
  Lubbock, TX
• Star of the Republic Museum
  Washington, TX
• Stark Museum of Art
  Orange, TX
• Texas Historical Commission
  Austin, TX
• The Children’s Museum of the Brazos Valley
  Bryan, TX
• The Grace Museum
  Abilene, TX
• The Health Museum
  Houston, TX
• The Woodlands Children’s Museum
  The Woodlands, TX
• Tyler Museum of Art
  Tyler, TX
• Umlauf Scupture Garden & Museum
  Austin, TX

Check the Blue Star Museum website for an updated list.

Attractions Passes are purchased online and are then activated at any of the attraction locations. The Attraction Pass states a savings of 30% off general admission.

Additional attractions include Grapevine Vintage Railroad (one-way, round-trip or Trinity River Run), Louis Tussaud’s Palace of Wax/Ripley’s Believe It or Not! and the National Scouting Museum (Collection of Norman Rockwell paintings).

Just Our Opinion

We really think the Attraction Pass is a great start for enjoying attractions in both Dallas and Fort Worth. The pass is currently offering a nice selection of attractions to see. We really hope they will be adding more attractions in the future like the Nasher Sculpture Center and Dallas World Aquarium.

The pass would be even better if they incorporated it with a DART Regional Pass, which allows the use of DART, Trinity Railway Express and The T Services.

Now don’t get us wrong. We love a good adventurous weekend, but you will have to hit the ground running to visit all of the attractions in a 2-day or 3-day period. Texas is a big place and there is a lot of land between these attractions. This sound like a challenge to us.

In that case, challenge accepted.

No artist defined the luxury, sensuousness, and grace of France during the reign of Louis XV as did François Boucher. The royal mistress, Madame de Pompadour, was his most demanding and discriminating patron. This free lecture explores a selection of works she commissioned from him, including a “Guest of Honor” on loan to the Kimbell. Bailey will also discuss a series of Boucher’s paintings in the Museum’s collection, originally made for the wealthy Parisian financier Bergeret de Frouville.

Before his tenure at The Frick Collection, Bailey served as deputy director and chief curator at the National Gallery of Canada, Ottawa, and as senior curator at the Kimbell Art Museum, among other museum posts. He has been responsible for an impressive list of catalogues and books, and, in 2004, he was the winner of the Mitchell Prize for the History of Art in the “Best Art Book” category for his critically acclaimed Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris.

Kimbell Art Museum

Kimbell Art Museum hours are Tuesdays through Thursdays and Saturdays, 10 a.m.–5 p.m.; Fridays, noon–8 p.m.; Sundays, noon–5 p.m.; closed Mondays. For general information, call 817-332-8451 or online at www.kimbellart.org.

*Admission to the permanent collection is always free.

With a $75,000 Picturing America School Collaboration Project Grant from the NEH, the Carter will provide a summer professional development conference, educating area teachers about American art and how it can be used in the classroom to build the essential traits of creativity and leadership. The Picturing American Creativity and Leadership Conference will be held in July for area K–12 public, private and homeschool educators who own a Picturing America poster set from the NEH. The conference will focus on the themes of creativity and leadership, using images from Picturing America and the museum’s collection. Teachers will receive Continuing Professional Education (CPE) credits for attending the institute, a $250 stipend from the NEH, plus free classroom resources like digital images of artworks, posters and lesson plans tied to state and national teaching standards. Conference participants will also receive funding for a free interactive student videoconference from the museum or reimbursement of transportation expenses for an onsite school tour related to the conference theme at the museum.

“Bringing American art into the classroom is a priority for our education department,” says Sara Klein, teacher and school programs manager. “The NEH grant allows us to serve more local teachers and provide high-quality, educational resources that use American art to tell America’s story.”

For more information about attending the conference, please contact Head of Education Stacy Fuller at 817.989.5032 or stacy.fuller@cartermuseum.org.

The museum’s upcoming Family Fundays on August 8 and November 14, 2010, are generously supported by Junior League of Fort Worth and Alcon. The Junior League has given the Carter a $28,000 grant and will provide volunteers; in addition, Alcon has pledged $15,000 and volunteers. The grant money will go toward art-making supplies for children’s activities, children’s books and refreshments for families. Additionally, the money will help to underwrite staff time. Family Fundays bring together families from across North Texas and engage them in fun, free, quality educational activities that connect them to the Carter’s collection of American art.

“Fundays provide amazing opportunities for families to experience American art, culture and history together in a fun and informal environment — for no cost,” says Fuller. “With the help of our sponsors, we are able to engage and educate thousands of families through innovative activities about American art and ensure that visitors always feel welcome at the Carter.”

The Amon Carter Museum must independently raise up to $2 million each year to underwrite the costs of its free special exhibitions and free public and education programs for students, teachers, families and adults.

For more information about the Carter’s education programs, please visit cartermuseum.org.

Christ and the Woman of Samaria by Guercino (Giovanni Francesco Barbieri), c. 1619–20

The Kimbell Art Museum of Fort Worth, Texas, has acquired the painting Christ and the Woman of Samaria, dated to 1619–20, by the Italian artist Guercino, one of the foremost painters of his time. The purchase was announced today by the Museum’s director, Eric M. Lee. The painting dates from Guercino’s early, rarest, and most desirable period, when the artist achieved acclaim for the emotional power of his compositions.

“I am thrilled that the Kimbell has found an outstanding painting, such as this, from Guercino’s coveted early period,” commented Mr. Lee. “It has been a long-standing wish of the Museum to find a Guercino of this quality to enhance its exceptional collection of Baroque art. I look forward to seeing Christ and the Woman of Samaria hanging alongside the Kimbell’s masterpieces by Caravaggio, Georges de La Tour, and Bernini.”

Christ and the Woman of Samaria (38 1/4 x 49 1/8 inches) presents a close-up view of the Samaritan woman, who rests her water bucket on the well where she has come to draw water, grappling to understand Christ’s message that he is the living water, the source of eternal life. The painting has never been published or exhibited, and prior to its purchase by a European private collector had been known only through copies and an old photograph of the work that was shown to Guercino expert Sir Denis Mahon many decades ago.

“Christ and the Woman of Samaria is, I believe, the finest painting by the artist to appear on the international market in years,” said Keith Christiansen, the John Pope-Hennessy Chairman of European Paintings at the Metropolitan Museum of Art in New York. He noted that the work is among the handful of paintings, including the Metropolitan Museum’s Samson Captured by the Philistines, “that are generally considered to mark the culmination of his early phase, in which he achieves a quality of dramatic movement through the use of gesture, pose, and brilliant, theatrical lighting. But there is another side to this aspect of Guercino, as beautifully exemplified in the Christ and the Woman of Samaria, and that is an interest in psychological characterization; the story is told not as an unfolding drama but as a moment of revelation, in which the viewer is less an observer than an eavesdropper of a private moment, and this confers on the work a particularly mesmerizing quality.”

Keith Christiansen commented further on the painting’s subject matter and importance: “In the Gospel of John (4:5–42) we read of Jesus coming to Samaria and, wearied, sitting near Jacob’s well. A woman comes to draw water. He asks her for a drink. She is surprised that a Jew would even speak to a Samaritan, upon which Jesus responds, ‘If thou knewest the gift of God, and who it is that saith to thee, Give me to drink, thou wouldest have asked of him, and he would have given thee living water.’ She does not understand, as he has nothing with which to draw water. Is he greater than Jacob, who gave them the well? ‘Whosoever drinketh of this water shall thirst again,’ explains Jesus. ‘But whosoever drinketh of the water that I shall give him shall never thirst.’ This is the moment Guercino depicts. Christ gestures to the well, his serene face turned towards the woman, who is entranced by what she hears. But she has not yet understood, and her face is one of rapt fascination.

“The bit of landscape behind them—the tree—serves to set the scene and offer a counterpoint to their closeness to the picture plane. We seem to overhear this conversation and are situated just the other side of the well—perhaps hidden by some tree or shrub, since the two figures are unaware of our presence. But we hear their words and we too are enraptured by this momentous encounter.”

Mr. Christiansen concluded: “This is the brilliance of the picture, which unfolds before us and engages us in the same way as the description of an encounter and dialogue in a great novel. For we have moved from a staged drama to a narrative of psychological penetration.”

Guercino

Giovanni Francesco Barbieri (1591–1666)—known by his nickname Guercino (literally “squinter”) because he was cross-eyed—was born in the northern Italian town of Cento, near Bologna and Ferrara. Although he received his early training with local artists, he was largely self-taught. His early work was marked by an astonishing naturalism and ability to convey the expressive power of the human figure. He admired the Bolognese painter Ludovico Carracci, who in 1617 wrote a letter praising the young man from Cento “who paints with remarkable invenzione. He is a great draftsman and a terrific colorist: he is a phenomenon of nature and a true miracle who dumbfounds everyone who sees his works. . . even the top painters are awestruck.” The following year Guercino visited Venice, honing his talent as a colorist by studying the works of Titian and other Venetian painters.

Guercino won the attention of several important patrons, among them Cardinal Alessandro Ludovisi, archbishop of Bologna, and Cardinal Jacopo Serra, the papal legate to Ferrara. In 1619, Guercino informed Ferdinando Gonzaga, duke of Mantua, that he could not accept a commission from him without the permission of Serra, for whom he was occupied producing a number of paintings, including the Metropolitan Museum’s Samson Captured by the Philistines and The Return of the Prodigal Son (in the Kunsthistorisches Museum, Vienna). The Kimbell’s Christ and the Woman of Samaria was painted during the same remarkably creative and productive period, perhaps for Ludovisi (later Pope Gregory XV, whom Guercino followed to Rome) or for Serra. In Rome, where he remained from 1621 until 1623, Guercino painted influential works that would have great impact on the development of Roman Baroque painting. On his return to Cento, he developed a classicizing style with a lighter, clearer palette and more lucid and restrained compositions.

Guercino moved to Bologna in 1642, becoming the leading painter of that city following the death of Guido Reni. Although he turned down invitations to the courts of England and France, he maintained a prolific career, producing paintings for an international clientele including King Charles I of England. Guercino died in 1666 in Bologna. He left an impressive legacy of nearly 400 paintings and well over 1,000 drawings that demonstrate his extraordinary powers of invention.

In Memory

This painting was acquired by the Kimbell Art Museum in memory of Edmund (Ted) P. Pillsbury, former director of the Kimbell Art Museum (1980–1998), who died in March of 2010.

Kimbell Art Museum

The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is as renowned for its collections as for its architecture. The Kimbell’s collections range in period from antiquity to the 20th century, including European masterpieces from Fra Angelico, Michelangelo, and Caravaggio to Cézanne and Matisse, and important collections of Egyptian, Near Eastern, Greek, and Roman antiquities, as well as Asian, Mesoamerican, and African arts. The Museum possesses a core of works that not only epitomize their eras and styles, but also touch individual high points of aesthetic beauty and historical importance that assure them a place among the masterpieces of world art.

Christ and the Woman of Samaria by Guercino (Giovanni Francesco Barbieri), c. 1619–20

Santa Elena Canyon, Big Bend National Park, Texas by Ansel Adams, 1947

Ansel Adams: Eloquent Light
Amon Carter Museum
May 29 through November 7, 2010

Works by one of the world’s most widely recognized and celebrated photographers will go on view this spring at the Amon Carter Museum. Ansel Adams: Eloquent Light features 40 photographs by the artist and runs from May 29 through November 7, 2010. Admission to the Carter is free.

“Ansel Adams was the last major artist to subscribe to the romantic tradition of American landscape, an artistic lineage that included Albert Bierstadt, Thomas Cole, William Henry Jackson and Carleton Watkins,” says John Rohrbach, senior curator of photographs. “This exhibition, comprised of prints from the museum’s holdings and a private collection, spans 50 years of Adams’ spectacular career and gives museum visitors insight into his vision of inspiring beauty.”

Adams’ uplifting images have helped define landscape photography, fulfilling an ideal of a glorious American West before tourism and development marked the land. A hallmark use of light coupled with an affinity for grand gestures yielded his trademark oversized prints. This exhibition, however, also showcases his lesser-known, non-landscape work and his initial devotion to Pictorialism, a photographic movement (in vogue from around 1885 to the early years of the 20th century) that subscribed to the idea that art photography should emulate — through soft focus, exotic printing techniques, and other methods — the more established art mediums of the time, particularly painting and etching.

Early in his career, Adams aimed to reveal the character of a landscape through the balance of light and dark. By limiting his photographs to contact size (the size of the originating negative) and printing them on matte-finish papers, he made works that delivered the intimacy of fine etchings. The exhibition shows how, in his later years, Adams sought to broaden his audience by publishing finely crafted portfolios of original prints that, along with his signature landscapes, included portraits, close-ups and even industrial photographs.

“A trained pianist, Adams often used musical analogy to explain his artistic practice — calling each negative a composer’s score and each print a unique performance,” Rohrbach says. “He visualized his results at the time he made each negative in order to better reflect his psychological experience of his subjects.”

An educator and a leader among West Coast artists, Ansel Adams (1902–1984) led photography workshops for years around Yosemite National Park. A strong advocate of environmental causes, he served on the board of the Sierra Club from 1937 to 1971. Among his many honors, he won three John Simon Guggenheim Memorial Foundation fellowships, was elected to the American Academy of Arts and Sciences, and in 1980 was awarded the Presidential Medal of Freedom.

Adams was a consummate and ardent admirer of the natural world, and he traveled the country from the national parks of Yosemite and Big Bend to the Taos Pueblo in New Mexico. From Mount McKinley (Ala.) to Death Valley (Calif.), he searched high and low, sharing his vision through exquisitely rendered prints bound in hand-crafted books and portfolios. His longstanding goal — “to rekindle an appreciation of the marvelous” — is evidenced here in this exhibition.

In conjunction with Ansel Adams: Eloquent Light, the Carter will host a free public program with Ansel Adams’ son, Dr. Michael Adams, on June 10.

June 10, 6 p.m.

Ansel Adams: A Son’s Perspective

Lecture

Dr. Michael Adams offers an intimate look at his father’s work in conjunction with the exhibition Ansel Adams: Eloquent Light. Admission is free, but because seating is limited, reservations are required. Call 817.989.5030 to register.

Oaktree, Snowstorm, Yosemite by Ansel Adams, 1948

Santa Elena Canyon, Big Bend National Park, Texas by Ansel Adams, 1947

Street in Saintes-Maries-de-la-Mer by Vincent van Gogh, 1888

Four of the highlights of the Kimbell Art Museum’s recent exhibition From the Private Collections of Texas: European Art, Ancient to Modern remain at the Museum on extended loan, featured in the new installation of the Kimbell’s collection of European art now on display.

The paintings are a colorful view of a village street in the south of France by Vincent van Gogh, a severely beautiful abstraction by Piet Mondrian, and a pair of scenes by the 18th-century French animal painter François Desportes.

The Museum strives to present its collection in different ways and with new attractions at every opportunity, keeping the experience fresh even for the regular visitor. In addition to the works on extended loan, the installation features two “Guests of Honor” in the Museum’s ongoing program of individual loans from collections throughout the world. They are a recently rediscovered early Rembrandt showing the artist himself enjoying a hearty laugh and a sumptuous, mythological scene by François Boucher.

Street in Saintes-Maries-de-la-Mer by Vincent van Gogh, 1888

Self-Portrait by Andy Warhol, 1986

Andy Warhol: The Last Decade
Modern Art Museum of Fort Worth
Through May 16, 2010

This review contains subliminal messages [Read Dallas Art News], not all of which are represented in the exhibit.

Time is running out to see Andy Warhol: The Last Decade at the Modern Art Museum in Fort Worth. If iconic images from the 20th century are your cup of tea, then The Last Decade is sure to hit the spot. The exhibit, organized by the Milwaukee Art Museum [Laverne & Shirley], contains fifty works form the last decade of Andy Warhol’s [15 minutes of fame] life. We highly recommend [Run, don't walk] visiting The Modern to see The Last Decade before it closes on Sunday, May 16, 2010.

Without too much name dropping [Mick Jagger], we’ll give you a brief overview of what you can expect to see [Howdy Doody].

At the top of the stairs is The Da Vinci Code’s [Leonardo da Vinci] most recognized pin-up girl [Mona Lisa] in the form of fifteen heads in white on white. For what it lacks in detail it makes up in beauty. Don’t get pulled into the main gallery until you have seen this one first.

Entering the main gallery Andy is everywhere starting with his self-portraits [Vincent van Gogh] all over the walls, on canvases and in photographs [Polaroids]. Next to Andy you will find other highly recognizable works [Wicked Witch of the West] that are sure to bring a smile to your face [Mickey Mouse].

The next gallery contains some camouflage works [Rambo] in colors other than greens and browns. These are works only a collector could love as camouflage has been over done by the fashion industry [Project Runway]. We can thank Andy for this.

One work worthy of more attention is the large silk screen print on canvas of a .22 caliber revolver [Valerie Solanas] in red and black. Although it is a simple double screen print of a gun [Smith and Wesson], the work has a chilling undertone. After all, Andy was shot.

Another work not to miss is the four representations of Norma Jean Baker [Marilyn Monroe] in black on black. Looking at this work head on gives the appearance of a photographic negative [Kodak]. Looking at it from an angle makes the work appear in the positive. What really appears is that Andy is just playing with us.

The most spectacular work in the exhibit is a double image in yellow and black of a dinner party [The Last Supper] with a major celebrity [Jesus] and twelve guests [Apostles] at the table. When you get to this work, take a seat [La-Z-Boy] and enjoy it for a little while. I don’t know if it is life size, but it sure is breathtaking. If only I had a couch long enough in my house for this one.

Lastly, don’t miss the stack of cans [Campbell’s Soup] screen prints. Andy wouldn’t want you to go away hungry [Tomato, Beef and Onion].

The Last Supper by Andy Warhol, 1986

Self-Portrait by Andy Warhol, 1986