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.

Acclaimed Thai restaurant expands to Fort Worth's hottest neighborhood

Thai Food News

An acclaimed Thai restaurant in the mid-cities is making a big step up to Fort Worth's hottest street: The new place is called Ko Thai, and it's opening at 721-725 W. Magnolia Ave., a couple doors down from Shinjuku Station (which sadly just closed after 13 years in the Near Southside).

Ko Thai is from Nick Thana Porn-In, a veteran restaurateur who has owned and operated restaurants for more than 10 years in the DFW area.

The restaurant is currently under construction, and he's planning on a December opening.

His current restaurant, Koracha Thai Restaurant, debuted in December 2021, in a shopping center on Harwood Drive in Bedford. The place has earned the undivided loyalty of the neighborhood and visiting foodies, not only for its exceptional and affordable Thai dishes but also for his endurance during the pandemic, staying open and providing locals with a reliable takeout option.

Fans rave about its authentic flavors, cozy atmosphere, and great customer service, lauding the quality and freshness of the ingredients and the doting attention to detail such as keeping the sauce separate from fried dishes in to-go orders so the food doesn't get soggy.

Instagram foodie account Dallas Eat and Play called it "the definition of hidden gem" and "the best Thai in DFW."

Ko Thai will be modeled after Koracha Thai, featuring Thai classics like curry, pad Thai, basil fried rice, with its signature dish being Duck Basil.

One big upgrade will be in the decor. Although Koracha has been described as "clean and cozy," its focus has been primarily on food, with limited seating and limited attention paid to decor.

Ko Thai will place Thai culture at the center not only of its cuisine but also its look, with a darker color scheme and authentic Thai statuary. It will also be significantly larger, with plenty of dine-in seating to meet the post-pandemic demand.

“I wanted to expand the size of the restaurant and increase both food and drink,” says Thana Porn-in. “Our family has been running restaurants in Texas for over 10 years. We understand the Texas taste, so we want to improve the experience for more people in this city."

That drove their choice of the location on Magnolia, as well.

"I looked at areas in Fort Worth and thought, where is the best place to chill, eat and drink?" he says.

Dallas-Fort Worth tops the charts for most new apartments built since 2020

high rise dominance

Shiny new apartment complexes are popping up everywhere around the country, but no other metro area can claim quite as many as Dallas-Fort Worth.

The Metroplex, in fact, has had more new apartments constructed since the beginning of the "pandemic building boom" in 2020 than any other U.S. metro area, according to a new study by apartment rental marketplace RentCafe.

Highest construction rate from 2020 to 2022
The construction analysis revealed 76,660 new apartment units opened in DFW between 2020 and 2022. These numbers far outshine one of the biggest renter metros in the country - New York City (No. 2) - by nearly 10,600 units.

"The booming job market in the Metroplex (supported by the industrial and tech sectors) fueled this construction spree," the report's author said.

Broken down by city, Dallas constructed 13,741 new apartment units between 2020 and 2022, while Fort Worth built the second highest number of new apartments: 9,672. McKinney built 2,586 new units within the same time frame, and Farmers Branch made up 3,140 new apartment units.

Dallas-Fort Worth is followed less closely by its Texas neighbors Houston (No. 3) and Austin (No. 4), which only developed 53,741 and 45,051 new apartment units, respectively, within the same period. Miami rounds out the top five with 42,960 new units built between 2020 and 2022.

The remaining top 10 metros that completed the most new apartments between 2020 and 2022 are:

  • No. 6 – Washington, D.C. (42,723 units)
  • No. 7 – Los Angeles, California (39,842 units)
  • No. 8 – Atlanta, Georgia (39,467 units)
  • No. 9 – Seattle, Washington (36,952 units)
  • No. 10 – Twin Cities, Minnesota (31,662 units)

New apartments to meet rising demand in 2023
Dallas-Fort Worth may have topped the charts for new apartments built during the pandemic, but it has fallen slightly in completed units built thus far in 2023. The study found that developers are set to build 23,659 new rental units by the end of December, which is nearly 10,000 fewer than New York, which reclaimed the No. 1 spot in 2023.

Demand for more housing is still at an all-time high in the Metroplex, as the North Texas region gained more residents than any other American metro between 2021 and 2022, the report says. Census data estimates nearly 170,400 new residents arrived in Dallas-Fort Worth at that time, bringing the population total to 7.9 million. That's quite the population boom, which only continues to grow bigger and bigger.

"[Dallas-Fort Worth's construction rate is] still not enough to meet the soaring demand for apartments throughout the metro, especially as America’s new boomtown is facing a severe shortage of housing units," the report says. "And, more and more people are expected to relocate to this thriving area in the coming years as businesses continue to expand."

The top 10 metros predicted to build the most new apartments in 2023 are:

  • No. 1 – New York City, New York (33,001 units)
  • No. 2 – Dallas-Fort Worth, Texas (23,659 units)
  • No. 3 – Austin, Texas (23,434 units)
  • No. 4 – Miami, Florida (20,904 units)
  • No. 5 – Atlanta, Georgia (18,408 units)
  • No. 6 – Phoenix, Arizona (14,629 units)
  • No. 7 – Los Angeles, California (14,087 units)
  • No. 8 – Houston, Texas (13,637 units)
  • No. 9 – Washington, D.C. (13,189 units)
  • No. 10 – Denver, Colorado (12,581 units)
The full report can be found on rentcafe.com.