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"

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"

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"

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"

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 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.

Golda lacks compelling drama despite Helen Mirren's performance as Israeli prime minister

Movie Review

Historical biopics can be tricky to pull off, as filmmakers have to make them accurate enough to be believable but entertaining enough for moviegoers to sit through what is essentially a history lesson. And when telling a story about relatively niche person or time, the assignment can that much more difficult.

That’s the issue facing Golda, which chronicles a month in the life of former Israeli Prime Minister Golda Meir (Helen Mirren) as she did her best to handle the fallout of the Yom Kippur War in 1973. The war, started by a coalition of Arab States led by Egypt and Syria, came 25 years after the creation of Israel, and – as continues in many respects to this day – was about land that Israel had claimed as its own.

The film is firmly on the side of Israel, as it only tells the story from the perspective of Meir and other Israeli government and military officials. Meir deals with a lot during that period, including a lack of respect from the mostly-male government (she’s referred to as a “caretaker prime minister”), mounting casualties from the war, and her own ill health, exacerbated by her heavy smoking.

Directed by Guy Nattiv and written by Nicholas Martin, the film starts with flashes of news about Israel’s creation and its various wars in the mid-20th century, setting the scene for non-history buffs. The film – and Meir's assistant, Lou Kaddar (Camille Cottin) – rarely leave her side, following her through her official duties, inside a hospital for cancer treatments, and even into her bedroom as she agonizes over the war and the losses Israel is sustaining.

The filmmakers do their best to impart the historical significance of the war itself and how it affected the higher-ups who oversaw it, but there’s something missing from the drama. Perhaps it’s because the war is only “seen” through distraught radio calls from the front lines and grainy video footage, but seeing Meir and others react to the seemingly non-stop barrage of bad news isn’t as compelling as the filmmakers seem to think it is.

There is also the relevant impact of the people playing real figures. Mirren wears heavy makeup to look like Meir, including a bigger nose, jowls, and wrinkles, but the fact that she herself is not Jewish has become a point of contention. Liev Schreiber, who plays U.S. Secretary of State Henry Kissinger, is Jewish, but, at 6’ 3”, he towers over the relatively small Kissinger. The film mixes in real footage of Meir and Kissinger, so it’s all too easy to compare and contrast how well each actor favors their real counterpart.

Mirren is, of course, a phenomenal Oscar-winning actor, so her performance is the most interesting part of the film. Though the scenes she’s called upon to play sometimes turn maudlin, she tends to rise above that, still making an emotional impact. Schreiber only has a few scenes, but his presence is welcome. Cottin, whose profile has been growing in recent years, puts in another nice role.

You probably have to have more than a passing interest in Israeli history to fully understand everything going on in Golda. Meir was – and remains – Israel’s only female prime minister, and even though the film is intensely focused on her, she is still a bit of an enigma by the time it’s finished.


Golda is now playing in theaters.

Helen Mirren in Golda

Photo by Sean Gleason / courtesy of Bleecker Street and Shiv Hans Pictures

Helen Mirren in Golda.

Where to eat in Fort Worth right now: 6 restaurants with the best sandwiches

Where to Eat

Summer’s end is near, which means it's back to school and back to work — and back to wondering where to go for lunch.

Fending off time and trends, the noble sandwich remains the quintessential lunch item. For this month’s Where to Eat, we point you to the best sandwich shops in and around Fort Worth. These are traditional sandwiches, and include venerable classics as well as some worthy newcomers.

For where to eat in Fort Worth, we bring you the best sandwiches in town:

203 Cafe
Downtown soup and sandwich shop from the team behind Reata is a real hidden gem, “hidden” being the operative word. It’s at 215 Commerce St., on the second floor of City Center Fort Worth, next to the entrance of a skybridge. You can also find it by entering through the Original Fire Station No. 1 and taking the elevator to the second floor. The sandwiches are worth the extra sleuth work. The Nashville hot chicken sandwich, whose plank of chicken is almost as big as the plate, is a must. Other favorites include a fantastic Italian beef-inspired sandwich called the Chicago, with thinly cut garlic and herb-roasted roast beef and crunchy giardiniere on a toasted hoagie, and the Hot Mess, an aptly named sandwich comprised of pecan-smoked smoked brisket topped with oozing poblano queso blanco and served on sourdough.

Carshon’s Deli
With roots dating back to the late 1920s, Carshon’s Deli is one of the city’s oldest restaurants, and most popular, too. Every walk of Fort Worth life can be seen here, from nearby TCU and Paschal High students to the city’s movers and shakers to those barely scraping by. All convene in the small dining room for a signature sandwich, be it the Rachel, piled high with freshly sliced corned beef, turkey, Swiss cheese, cole slaw and Russian dressing and served on rye bread; or the Rebecca, a double-decker made with pastrami, smoked turkey, and cream cheese, all divvied up on three pieces of grilled egg bread. Other sandwiches are of the straightforward-deli sort and include corned beef, pastrami, chopped liver, salami, and roast chicken, most of which are available half or whole. Dessert is a big deal: Many diners try to time their visits to the exact moment when the restaurant’s meringue pies are served fresh out of the oven. Bring cash; this old-school stalwart doesn’t accept credit cards.

Cheba Hut Toasted Subs
When it opened last year, this Colorado-based sandwich chain brought to the Near Southside something the area lacked: a sense of humor. Sandwiches named with pothead double entendres, an ice machine with a cut-out pic of rapper Ice Cube on it, Kool-Aid as a drink option - it’s refreshing to see a restaurant that doesn’t take itself so seriously in an area where so many others do. But the Cheech and Chong atmosphere masks terrific food. Sandwiches come on good quality bread, made fresh, and top-of-the-line ingredients are put to imaginative use, as on the Griefo, a mashup of cream cheese, guacamole, and assorted veggies, and the Sensi Kush, a BLT with bacon and honey sriracha. Coupla nice pluses: the restaurant is open late and has a full bar.

Colossal Sandwich Shop
The shop itself is small, occupying a strip mall spot at 1220 Airport Fwy., but as the name of their restaurant implies, owners and longtime friends Terry Duncan and Jonathan “Jono” Merrill serve super-size sandwiches, with most being big enough to share. Their sandwiches aren’t the same ol’ and are more aligned with the chef-inspired variety you’d find at high-caliber restaurants. “The Colossus,” their rendition of a pulled pork sandwich, features braised pork shoulder topped with jalapeno slaw and housemade barbecue sauce served on a grilled onion roll. Their grilled cheese, the Ooey Gooey, is a messy delight: a bed of roasted veggies comes topped with melted cheddar and provolone and a housemade herbed cheese spread.

Dino’s Subs
Beloved sub shop at 2221 South Collins St. in Arlington was opened in 1980 by founder Lawrence Dino, whose grandfather ran a similar business in New Jersey. A magnet for nearby UTA students, it has a rock & roll vibe, with cheap pitchers of beer, a big screen TV, loud piped-in music, and sometimes grumpy sandwich-makers. All add to Dino’s charm. You move through a line, ordering your sandwich by the size and number (and if you don’t, you’re quickly reminded by employees). Then you pick your toppings, sides, and drinks. Must-gets include the #21, layers of baked ham, peppered beef, mushrooms and provolone, all topped with cream cheese; #15, a simple but flavorful mashup of avocado and muenster cheese; and #18, a dessert sandwich made with honey, bananas, and peanut butter. There are lots of salads, too, plus pastas and cheesecakes. Cool, cool place.

Weinberger’s Deli
Recently named best deli in the state by the website Eat This, Not That, the Grapevine location of this Chicago-born restaurant is a long-running, old-fashioned deli serving upscale sandwiches out of a neat street-corner spot at 601 S. Main St. You gotta get there early if you want to dine-in; the place is typically packed by 11:30 am each day. Many come for the Italian beef sandwich, served as it is in Chicago, either dry or wet, with hot, mild or sweet peppers. Others swear by the Oscar, a salami, capicola, and pepperoni combo topped with grilled mortadella, provolone, and giardiniera. Weinberger’s is one of the few sandwich shops in North Texas to offer the New York-style chopped cheese, a mix of ground beef, grilled onions, American cheese, ketchup and mayo on a garlic toasted baguette. Man, it’s good.