Sid Richardson Museum presents "Night & Day: Frederic Remington's Final Decade"

Sid Richardson Museum presents "Stunning Saddle"

Image courtesy of Sid Richardson Museum

Sid Richardson Museum presents "Night & Day: Frederic Remington's Final Decade," which explores works made in the final decade of Remington’s life, when the artist alternated his canvases between the color dominant palettes of blue-green and yellow-orange. The works included range from 1900 to 1909, the year that Remington’s life was cut short by complications due to appendicitis at the young age of 48.

In these final years Remington was working to distance himself from his long-established reputation as an illustrator, to become accepted by the New York art world as a fine artist, as he embraced the painting style of the American Impressionists. In these late works he strove to revise his color palette, compositional structure, and brushwork as he set his Western subjects under an interchanging backdrop of the shadows of night and the dazzling light of day.

Throughout his career Remington revised and reworked compositions across media, from his illustrations to his oils to his three-dimensional bronzes. As part of this process of revision, Remington took extreme measures from 1907 to 1909 when, as part of his campaign toward changing the perception of his art, he destroyed well over 100 works that he felt did not satisfy his new standards of painting.

A contract made with Collier’s magazine that began in 1903 meant that many of the works he destroyed are preserved through halftone reproductions published by that journal. The inclusion of these images in this exhibition offers the opportunity to compare them with modified and remade compositions Remington produced in his final years.

The museum is extending the run of the exhibition to Sunday, April 30, to showcase a rare Remington watercolor titled Cold Day on Picket. The artwork was recently discovered by Museum Director Scott Winterrowd during a visit with Dallas collectors Duffy and Tina Oyster.

Image courtesy of Stephanie Syjuco

Amon Carter Museum of American Art presents "Stephanie Syjuco: Double Vision"

The Amon Carter Museum of American Art presents "Stephanie Syjuco: Double Vision," an expansive multimedia exhibition in the Museum’s first-floor galleries. The newly commissioned, site-specific installation by the artist uses digital editing and archive excavation to transform images of renowned works from the Carter’s collection and reconsidering mythologies of the American West.

Reframing iconic works by American artists including Albert Bierstadt, Frederic Remington, and others, Syjuco’s work will highlight the constructed nature of historical narratives and reveal how these works and their presentation can perpetuate colonial lore. New photographs by Syjuco will be mounted on two digitally altered landscapes rendered as murals on the gallery’s 50-f00t-wide and 15-foot-tall walls with floor-to-ceiling fabric curtains that together create an immersive, 360-degree experience.

The mural on the north wall will be a chromolithograph print from the Carter’s collection, The Storm in the Rocky Mountains (ca. 1868), by Bierstadt that has been doubled in places. A Rorschach-esque mirror of itself, the image underscores the projection of promise, fantasy, and opportunity historically placed on western land. Additionally, the mural image will extend beyond the border of the landscape to reveal color-management by both artist and Museum - the printer’s color checking as well as a digital color bar from the Carter’s photo studio. Mounted on top of the vinyl mural will be images Syjuco took of White male hands depicted in works throughout the Museum’s western art holdings often in the act of controlling, whether pointing, grasping, or handling items such as reins, ropes, and weapons.

The mural on the south wall will feature a different chromolithograph from the Carter’s Bierstadt holdings, The Rocky Mountains, Lander's Peak (1869). The image will be rendered in chroma key, a kelly-green color often associated with green screens, signaling space that will be manipulated in post-production. This vibrant tonal quality alludes to the pre-existing inhabitants, communities, and infrastructures that are “edited out” in many narratives of western settler expansion.

On top of the vinyl, Syjuco will mount large printed photographs of Remington sculptures from the Carter’s collection that she will carefully stage to contain photographic and cataloging tools often hidden from public view - color correction cards, identification tags, and measuring devices. The works will be intentionally captured from rear angles against a dark black background to remove them - literally and metaphorically - from their customary pedestals.

Photo courtesy of Amon Carter Museum of American Art

Amon Carter Museum of American Art presents Charles Truett Williams: "The Art of the Scene"

Charles Truett Williams: "The Art of the Scene" examines the Fort Worth mid-century art scene through the presentation of more than 30 works by Fort Worth artist Charles Truett Williams and the artistic community drawn to his studio salon. Accompanying the works on paper and sculptures are ephemera from the recently acquired archives of Williams, enhancing the Carter’s strong holding of artist archives.

The exhibition is the continuation of the Museum’s research into the artistic legacy of underrepresented artists as part of the Gentling Study Center’s mission.

Photo courtesy of Amon Carter Museum of American Art

Amon Carter Museum of American Art presents "Faces from the Interior: The Native American Portraits of Karl Bodmer"

Organized by and drawn exclusively from the collection of the Joslyn Art Museum (Omaha, Nebraska), "Faces from the Interior" features over 60 recently conserved watercolors including portraits of individuals from the Omaha, Ponca, Yankton, Lakota, Mandan, Hidatsa, Assiniboine and Blackfoot nations.

Contemporary Indigenous knowledge bearers, artists, and scholars from the nations that Bodmer and his companion, German prince Maximilian zu Wied-Neuwied, visited between 1832 and 1834 have contributed texts and four short films for this exhibition, which together highlight the diverse histories, beliefs, and practices embodied in the portraits.

Photo by Zig Jackson

Amon Carter Museum of American Art presents "Speaking with Light: Contemporary Indigenous Photography"

Marking the first major museum survey to explore the practices of Indigenous photographers working today, the Amon Carter Museum of American Art will present "Speaking with Light: Contemporary Indigenous Photography." Contemporary photography-based works will spotlight the dynamic ways in which more than 30 Indigenous artists have leveraged their lenses over the past three decades to reclaim representation and affirm their existence, perspectives, and trauma.

Among many milestone works, this sweeping multimedia exhibition will feature acclaimed prints by Hulleah Tsinhnahjinnie, Wendy Red Star, and Nicholas Galanin; site-responsive installations by Kapulani Landgraf and Jolene Rickard; and a new large-scale photo weaving by Sarah Sense, which has been commissioned by the Carter.

"Speaking With Light" showcases the evolution of cultural affirmation and institutional critique in photography through the prolific output of young and mid-career artists such as Jeremy Dennis, Sky Hopinka, Dylan McLaughlin, and Cara Romero, along with their generational forebearers, including Shelley Niro, Tom Jones, and Zig Jackson.

Brought together, these photographs, videos, three-dimensional works, and digital activations forge a mosaic investigation into identity, resistance, and belonging. Reflecting a wide spectrum of distinct cultures and creative practices, the exhibition is an outgrowth of the Carter’s broader collecting initiative dedicated to amplifying Indigenous artists’ contributions to the history of photography and American visual identity.

Photo courtesy of Modern Art Museum of Fort Worth

Modern Art Museum of Fort Worth presents "Modern Masters: A Tribute to Anne Windfohr Marion"

Modern Art Museum of Fort Worth will present "Modern Masters: A Tribute to Anne Windfohr Marion," an exhibition of contributions of one of the Modern Art Museum of Fort Worth’s greatest patrons, tracing her support over nearly a half century. Marion’s generosity to many institutions is legendary, but no organization stood above her love for the Modern. The exhibit will feature 80 works by 47 artists.

Marion began collecting modern and contemporary art in the 1980s. At that time, her passion, and strategy, was to focus on American art at the highest level. She began by forming a small but stellar private collection of Abstract Expressionism, one of the most significant art movements since World War II. The exhibition begins with three renowned works from her collection, given to the Modern on her passing in 2021: Arshile Gorky’s "The Plow and the Song," 1947, Willem de Kooning’s "Two Women," 1954–55, and Mark Rothko’s majestic "White Band No. 27," 1954.

The exhibition will combine these stellar paintings, seen together here for the first time, with a major group of works by Jackson Pollock, purchased by the Modern in the mid-1980s. At that time, Abstract Expressionism was generally out of the financial range of most museums. However, with Marion’s help, and that of her Burnett Foundation, the Museum was able to purchase an important group of works by Pollock, arguably the most famous and radical member of the Abstract Expressionists. The 12 drawings, paintings, and prints acquired by the Modern in 1985 poignantly trace Pollock’s expressive journey between psychological figuration and abstraction.

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'Yellowstone' stars to greet fans at Fort Worth Stock Show & Rodeo

Yellowstone news

Yellowstone fans, get your comfy shoes ready - there'll be a long line for this one. Cole Hauser a.k.a. "Rip Wheeler" on Yellowstone, and Taylor Sheridan, the show's co-creator, executive producer, and director of the series, will meet fans and sign autographs at the Fort Worth Stock Show & Rodeo.

The event will take place from 4:30-6:30 pm only on Friday, February 3. Location is the 6666 Ranch booth near the south end of Aisle 700 in the Amon G. Carter, Jr. Exhibits Hall.

According to a February 2 announcement from FWSSR, "fans will have the opportunity to snag an autograph as well as purchase some distinctive Yellowstone and 6666 Ranch merchandise while also enjoying all the features the Stock Show offers."

The event is free to attend (with paid Stock Show admission) and open to the public.

It's the second year in a row for Hauser to appear at FWSSR; in 2022, he and fellow cast mates drew huge crowds.

Sheridan, a Paschal High School graduate, is no stranger to Fort Worth; he lives in a ranch near Weatherford and filmed 1883, the prequel to Yellowstone, in and around Fort Worth. Currently, another spinoff, 1883: The Bass Reeves Story, is filming in North Texas.

The Fort Worth Stock Show & Rodeo is winding up its 2023 run on Saturday, February 4.

Quonset hut in south Fort Worth to be transformed into ballroom

Quonset Hut News

A Quonset hut in south Fort Worth is about to make a Cinderella-like transformation: Called the Quonset Ballroom, it's being developed into an entertainment space which will host live music, food trucks, and events.

The hut is located at 2608 W. Dickson St., and was previously home to a lawn care operator for 30 years.

Husband-and-wife Jason and Hedy Peña stumbled onto it while searching for a new location for Hedy’s insurance agency, Armor Texas Insurance Agency. They landed at 2612 Dickson St., a cool mid-century office building built in 1957, which was ideal for the agency, even despite its offbeat address in a heavily industrial area.

“It was a piece of property where we could locate the office and it also had this 4,000-square foot Quonset hut next door,” Hedy says. "We started thinking about creating a venue which could be rented for parties, weddings, and social events."

Quonset huts are sprinkled across the Dallas-Fort Worth landscape, most dating back to the 1940s, shortly after the structure was first invented at Quonset Point Naval Air Station in Rhode Island.

Fort Worth is also currently in thrall with Quonset huts, thanks to the hip PS1200 mixed-use development near the Medical District which opened in July.

This one was built in 1948, and will require an overhaul, including new flooring, AC, and framing, with a planned-for capacity of 250 people.

Even as they work on the revamp, the Peñas have hosted private parties as well as a campaign event for Jason Peña, who ran unsuccessfully for Fort Worth city council in May 2023.

“We’ve had some private events there, but it’s not ready for a full event," Hedy says.

They currently have no plans for a bar but they're building a kitchen space to serve as a platform for the food trucks, including hookups.

The tract also has what was once a 10-car garage, which the Peñas are developing as storefronts they hope to lease as office spaces.

The industrial nature of the neighborhood initally gave them pause, but Hedy says it's turned out to be a positive, and the property itself has mature, leafy trees.

"Everything around us is industrial and at first I was uneasy about opening the insurance agency there," she says. "But the neighborhood has not deterred customers. We've even grown. And without homeowners nearby, it's a good setup if we have live music."

She envisions a spot that will eventually have a community feel, where families can dine and sit outside or inside – there will be seating – and enjoy music and conversation.

“It will be open to rent to the public, for sure, and could turn into something where it has regular hours," she says. “It will be for everyone, the public, our friends, family, so that everyone can see what we have here.”

Gamestop stock saga gets fun, star-filled movie treatment with Dumb Money

Movie review

The stock market feels like one of those aspects of American life that only a select few truly understand. The rest of us acknowledge it as something that exists and affects our lives in some way, but how and why any particular stock is traded and becomes more (or less) valuable can be a complete mystery.

Dumb Money tackles one of the most interesting recent stories to come out of the stock market, the surprising inflation of Gamestop stock in late 2020/early 2021. The film bounces around to a variety of characters, but centers mostly on Keith Gill (Paul Dano), a YouTuber who went by the name of Roaring Kitty. Gill, an amateur stock trader, took an early position about liking the lightly-regarded Gamestop stock, regularly posting videos and on the Reddit thread WallStreetBets about how his significant investment in the stock was doing.

Concurrently, hedge fund managers like Gabe Plotkin (Seth Rogen) were actively trying to short, or bet against, the stock. That began a battle by Gill and other similarly-minded individual investors to fight back against what they saw as unfair trading practices by the big firms, resulting in Gamestop’s stock rising astronomically in a relatively short period of time.

Directed by Craig Gillespie (I, Tonya) and written by Lauren Schuker Blum and Rebecca Angelo, the film is notable for what it is not, a deep dive into the inner workings of the stock market. Instead of getting into the nitty gritty details, the filmmakers treat it as the ultimate David vs. Goliath story, with Gill and other everyday people like a nurse, Jenny (America Ferrera), Gamestop worker Marcus (Anthony Ramos), and college student Harmony (Talia Ryder) going up against billionaires like Plotkin, Steve Cohen (Vincent D’Onofrio), Ken Griffin (Nick Offerman), and Vlad Tenev (Sebastian Stan).

Photo by Claire Folger/Sony Pictures

Paul Dano in Dumb Money.

It doesn’t hurt that Gill is an eccentric character who wears cat-emblazoned shirts and a headband, and that the Reddit community he inspires communicates primarily in memes, upping the entertainment factor of their side immensely. The story is also a suspense in a way; as the variety of individuals drive the stock ever higher, their net worth – on paper – also grows exponentially, and the longer each of them holds on without selling ups the potential that they could be burned.

Because the real-life event happened during the thick of the pandemic when it was still up in the air as to the full impact of COVID-19, the story takes on a little more significance. Characters mask up regularly, conversations take place on the phone or over Zoom, and a general feeling of unease permeates the film. That may or may not have influenced how certain people approached the situation, but in the context of the film, it definitely seems to play a part.

The back-and-forth between the haves and have-nots takes up so much time in the film that it barely has time for such well-known actors as Shailene Woodley, Dane Dehaan, Olivia Thirlby, and Pete Davidson, among others. Each of them plays a supporting character to one of the main people, and all of them deliver that little something extra in what could have been throwaway roles.

Dano is a chameleonic actor who’s gone between drama and comedy with ease throughout his career. This role is a mixture of both, and he has an effortlessness about him that makes everything he says instantly believable. Rogen is great casting as Plotkin, amiably playing the buffoon of the story. After her big role in Barbie, Ferrera once again shows that she deserves as many showcases as Hollywood can give her.

Storytellers can rarely go wrong in showing people with little power taking on those with great wealth, and the fact that the story shown in Dumb Money is (mostly) true makes it that much better. You may not understand the stock market any more than you already did at the end, but you’ll be so entertained that it won’t matter.

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Dumb Money is now playing in theaters.

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