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    • 8 Mar 2020
    • (CST)
    • 10 Jan 2021
    • (CST)
    • The Modern Art Museum, 3200 Darnell Street, Fort Worth, TX 76107

    Mark Bradford, Eve. Full image.

    The Modern Art Museum of Fort Worth presents the exhibition Mark Bradford: End Papers. Curated by Michael Auping, former Chief Curator at the Modern, this exhibition focuses upon the key material and fundamental motif the artist employed early in his career and has returned to periodically over the past two decades.

    The pivotal works in this exhibition are primarily constructed from end papers, which Bradford learned to use as a hairdresser in his mother’s beauty salon in South Los Angeles. These small sheets of translucent paper protect hair from overheating in the process of using curlers to create permanent waves. Part painting and part collage, the colored End Paper works feature grids that contain various hues that pulsate across the surface. Bradford said recently, “I learned my own way of constructing paintings through the End Papers—how to create space, how to use color. And how to provide a new kind of content. They were the beginning for me.”

    Bradford’s End Paper works not only allowed him to make beautiful abstract paintings but inspired the artist’s use of “social papers” that related to his biography and his neighborhood. From the End Papers, Bradford began using merchant’s posters, broadsides, and even billboards he found in downtown Los Angeles to make his paintings.

    Auping comments, “The End Paper works are not only beautiful, they were prophetic in terms of layering abstraction with personal and social content. Much of the history of post–World War II art is about engaging common materials. This is a unique instance of that. The End Papers are a key element of Bradford’s identity. Just as a broad range of minimalists are inextricably linked to their signature materials, from Dan Flavin’s use of fluorescent tubes to Ruth Asawa’s weaving of galvanized wire, Bradford has adapted the materials and processes of the hairdressing profession to be both medium and message in his art.”

    The exhibition will include approximately 35 major End Paper works drawn from private and public collections and new work created by the artist for this presentation.

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    • 14 Aug 2020
    • (CDT)
    • 1 Nov 2020
    • (CDT)
    • Amon Carter Museum of American Art

    Acting Out: Cabinet Cards and the Making of Modern Photography offers the first-ever in-depth examination of the photographic phenomenon of cabinet cards. Cabinet cards were America’s main format for photographic portraiture through the last three decades of the nineteenth century. Inexpensive and sold by the dozen, they transformed getting one’s portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with family and friends.

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    • 14 Aug 2020
    • (CDT)
    • 1 Nov 2020
    • (CDT)
    • The Amon Carter Museum of American Art

    man playing the guitar outside a house with a woman listeningExperience the Texas landscape like you’ve never seen it before. The most celebrated painter from Texas in the first half of the twentieth century, Everett Spruce (1908–2002) was widely collected by museums across the country, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and more. His modern, visionary landscapes countered the mythic images of Texas as only a land of cattle and cowboys. Over time, however, with the rise of Abstract Expressionism and Pop Art, Spruce and his work fell into obscurity.

    Texas Made Modern: The Art of Everett Spruce resurrects Spruce’s career and returns it to its place in the history of American art. The exhibition traces the evolution of Spruce’s art over fifty years as he adapted his style and subjects to the era in which he worked. The exhibition and its accompanying catalogue bring to light Spruce’s role as not only a key figure in the development of modern art in Texas but as a vital contributor to the narrative of modernist landscape painting in America.

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    • 17 Aug 2020
    • (CDT)
    • 31 Dec 2020
    • (CST)
    • The Modern Art Museum, 3200 Darnell Street, Fort Worth, TX

    Don't Worry We Will Hold Hands Again

    RESIST COVID/TAKE 6! is a public art campaign by artist Carrie Mae Weems that communicates healthcare messaging and combats the spread of COVID-19. This multi-city project is being led in Dallas-Fort Worth by Dallas Contemporary and a consortium of local nationally recognized museums, including the African American Museum of Dallas, Amon Carter Museum of American Art, Crow Museum of Asian Art of The University of Texas at Dallas, Dallas Museum of Art, Modern Art Museum of Fort Worth, The Nasher Sculpture Center, and the newly-formed Gossypion Investments group of cultural consultants. The project was created during Weems current residency at Syracuse University.

    The title RESIST COVID/TAKE 6! is an allusion to the recommended six feet of separation in social distancing. In this initiative, Weems marries her photographs and healthcare guidelines to spread life-saving information and life-affirming messages to Black, Latinx, Asian/Pacific Islander, and Native American communities—who have been disproportionately impacted by the deadly virus—in the form of public-facing billboards, wheat paste posters, and takeaways including buttons and fans. This messaging both promotes preventative measures and dispels harmful falsehoods, while also paying homage to front-line and essential workers.

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    • 6 Nov 2020
    • (CST)
    • 10 Jan 2021
    • (CST)
    • Modern Art Museum, 3200 Darnell Street, Fort Worth, TX

    From Left to Right: Marina Adams, OZ, 2018, Cheops, 2018, Days and Nights, 2018

    Contemporary artist Marina Adams will show seven energetic abstract paintings from the past four years that are immersive in scale, as well as recent small gouache works on paper. Adams explores the relationship between color and shape in her acrylic-on-linen paintings, where organic forms of solid color abut and interlock. Her work balances organization and improvisation; she sketches out her compositions before she paints, but there is an immediacy made obvious by loose, confident brushstrokes, where drips and bands of color overlap.

    Though abstract, Adams’s paintings are rooted in textile design and architecture. As she stated in a Brooklyn Rail interview, “Pattern is a language that crosses boundaries. It offers common ground.” As similar patterns have historically been found in far-flung locations not likely to have been in contact, it is clear certain designs are elemental and primal, and in these synchronicities, as she says, “we find how we’re alike, as opposed to always thinking about how we’re different.”

    Literature and history also play important roles in Adams’s work, especially in her use of referential titles. For example, Cheops, 2018, which is included in this exhibition, refers to the ancient Egyptian pharaoh for whom the Great Pyramid of Giza was built, and the painting’s composition echoes pyramidal forms. Such references offer viewers a literary path of entry into her art.   

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    • 15 Nov 2020
    • (CST)
    • 14 Mar 2021
    • (CST)
    • Kimbell Art Museum, 3333 Camp Bowie, Fort Worth, TX

    Queen Nefertari’s Egypt celebrates the wives of pharaohs during the New Kingdom period (1550–1070 BC), when Egyptian civilization was at its height.

    These women—not just great royal wives, but also sisters, daughters, and mothers of pharaohs, and sometimes even pharaohs themselves—are brought to life through some 230 exceptional objects, including statues, jewelry, vases, papyrus, steles, mummies, wooden coffins, and stone sarcophagi, as well as tools and various items of daily life from the artisan village of Deir-el-Medina, home to the craftsmen who made the royal tombs. These astonishing treasures showcase the legacy of these amazing women—whose status often verged on divine. All of the selected masterpieces come from the Museo Egizio in Turin, the second-most-important permanent Egyptian collection in the world after Cairo and one of the most prestigious museums in Italy.

    Nefertari, whose name means “the most beautiful of them all,” was the beloved royal wife of Pharaoh Ramesses II. Linked to some of the most magnificent monuments of ancient Egypt, she not only appears in statues, images, and inscriptions on the buildings of Ramesses II, but a complete temple was consecrated to her in Abu Simbel, beside the one dedicated to her husband. Her tomb is the largest and most richly decorated in the Valley of the Queens. It was discovered in the early twentieth century by a team of Italian archaeologists led by Ernesto Schiaparelli, then director of the Museo Egizio, and the team’s journey of discovery on the banks of the ancient Nile is also chronicled through the stunning artifacts on view.

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    • 8 May 2021
    • (CDT)
    • Will Rogers Memorial Center on Lancaster Ave

    The Cowtown Marathon has made the decision to move our 2021 race dates as well as adjust all race weekend activities. This change is in response to ongoing coronavirus-pandemic concerns and our commitment to the safety of all athletes, volunteers, spectators and staff. We are acting now, so runners may effectively train for their distances, and we can accommodate safety recommendations for social distancing.

    The Cowtown will now take place on May 8th, 2021, shifting from the last weekend in February (26th – 28th, 2021). May 8th will include an in-person 5K, 10K, Half Marathon, and the Healthy Hig Half Marathon Relay. We have cancelled the in-person Kids 5K, Full, and Ultra Marathons, but virtual options to run are available.

    For additional information, please visit their website.

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