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2018 Annual Report FISCAL YEAR 2018 Annual Report MISSION STATEMENT Letter from the President of the Board of The Amon Carter Museum of American Art was established through the generosity of Amon G. Carter Sr. Trustees and the Executive Director (1879–1955) to house his collection of paintings and sculpture by Frederic Remington and Charles M. Russell; to collect, preserve, and exhibit the finest examples of American art; and to serve an educational role through exhibitions, publications, and programs devoted to the study of American art. AS IS OFTEN THE CASE WHEN ONE TRIES TO REFLECT on the museum’s BOARD OF LEADERSHIP TEAM AMBASSADOR Brooke Lively accomplishments of the past year, it is much easier to write about the present TRUSTEES COUNCIL Louella Martin moment and the excitement and energy of Changing Views. However, we Melissa Mathis Brett Abbott Connie Beck Karen Johnson Hixon Morris Matson build on a past that has always been and continues to be driven by excellence. Director of Collections Chair President and Exhibitions Patrick C. McClanahan Over the last few years, the format of our annual report has become more Victor Medina Bradley Alford “greatest hits” than narrative document. A myriad of impressive numbers tell Robert M. Bass Elizabeth Mesch Amanda Blake Judy Alton Stephen W. Butt Greg Morse the tale, but please take a moment to look a bit closer. Director of Education Louise Appleman Michael Conforti Philip Norwood The exhibitions at the Amon Carter portray and build on the many and Library Services Toni Boecker Glenn K. Davidson John L. Nugent Susan Butt strengths of the collection, and they are always of the highest quality. In Walker C. Friedman Scott Orr Sherrie Fanning Thomas C. Campbell John P. Hickey Jr. Ronald L. Parrish reviewing the list from last year, though, two were groundbreaking. Wild Director of Human Resources Bill Campbell Mark L. Johnson Betsy Pepper Spaces, Open Seasons was the first exhibition to explore the many facets of John A. Chalk Sr. J. Bryan King Nancy Phillips Karen Johnson Hixon Guy C. Vanderpool Rose Anne Cranz outdoor painting and sculpture from the early nineteenth century up to World J. Luther King Jr. Pam Pigman President of the Board Director of Development and Mitzi Davis War II. It showed the relevance to and, often, the reverence for hunting and Richard W. Moncrief Dana Porter of Trustees Communications Robert I. Fernandez Stephen P. Smiley John M. Richardson fishing in that period of history. A New American Sculpture, 1914–1945: Lachaise, Taylor Gandy Nenetta Carter Tatum Andrew J. Walker Mary Ripperton Richard Garvey Laurent, Nadelman, and Zorach was the first to examine the relationship Executive Director Richard A. Russack John T. Gavin Dennis Shingleton between classicism, modernism, and popular imagery during the years between TRUSTEES EMERITI David H. Gibson Scott Wilcox Ramsay Slugg the world wars. And those two are but a sampling of the rest of the year. Ronnie Goldman Gordon D. Smith Bradford R. Breuer Chief Operating Officer Exhibitions are only one part of the mission of the Amon Carter. As you Merrill Gregg John Sutton Benjamin F. Stapleton III Chief Financial Officer Kenneth M. Hamlett Jr. Carter Tatum turn the pages of this report, it is obvious that our programming both within the William E. Tucker Kathleen Hicks Mark Thistlethwaite Evan H. Turner museum and in the community at large is second to none. Tracy E. Holmes Sue Turnage Alice L. Walton As always, we extend our thanks to all our members and supporters. Please Jeff King Cheryl Vogel Scott M. Kleberg Rachel Werner read this report, but, more importantly, come to the museum to experience the Mollie Lasater Blake Woodard wonder of American art. Suzanne Levy PUBLICATIONS DEPARTMENT Andrew J. Walker Stefanie Ball: Publications and Website Manager; Lorraine Bond: Senior Graphic Designer and Production Manager; Will Gillham: Head of Publications; Executive Director Paul Leicht: Photographer/Videographer; Steven Watson: Media Production Manager; Amon Carter photographs by Paul Leicht and Steven Watson unless otherwise noted. © 2019 Amon Carter Museum of American Art, Fort Worth, Texas. All rights reserved. An accessible sidewalk leads from Lancaster Avenue to the barrier-free main entrance. All galleries are barrier-free. “The Amon Carter Museum of American Art aspires to be a place PRINTING GENEROUSLY SUPPORTED IN PART BY CURRY PRINTING INC. where everyone can experience the singular wonder of American art.” —Vision Statement EXECUTIVE DIRECTOR’S LETTER 2 People Served Collection “A true valuable asset to Ft. Worth and its neighboring communities “On the whole, the [Amon Carter’s] exhibitions are a dazzling and beyond!” survey of some of America’s greatest artists, which have been —Google Review, 6.29.18, Andrea Hammond assembled and presented in a highly thoughtful and revelatory manner.” —Fort Worth Star-Telegram, Oct. 4, 2017 64,487 2,230 works available to view at Library items circulated 90,462 82 cartermuseum.org/collection visitors to the museum distance-learning 157 broadcasts to 13,903 items loaned via interlibrary loan to 82 institutions participating schools documents digitized and 7,827 catalogued 1,010 and organizations as part of a grant from the Institute of visitors to the Library Museum and Library Services 113 paintings, works on paper, and sculptures, acquired 1,202 792 titles were added to the Library’s collection, research queries fielded 47 including 57 gifts photographs acquired 186,412 21, 237 unique and unduplicated 731 students in tours with the visits to museum’s gallery teachers cartermuseum.org teachers served via onsite Conservation trainings and offsite workshops 4,022 4,868 participants served in 70 15 7 76 offsite programs visitors participated in works on paper paintings treated; photographs treated; 512 docent tours 6,889 treated; 1,066 1 frame treated; 223 594 examined examined paintings examined; participants in 2 frames examined; 153 programs 2 sculptures examined ACQUISITIONS COLLECTION 3 4 Exhibitions Loans A Selection of Works from the Museum’s Collection that Traveled in 2018 WILD SPACES, OPEN Wild Spaces was the first major exhibition to explore the GEORGIA O’KEEFFE GRANT WOOD multifaceted meanings of such outdoor subjects in both Black Patio Door, 1955 Parson Weems’ Fable, 1939 SEASONS painting and sculpture from the early nineteenth century to Reynolda House Museum of American Art, Whitney Museum of American Art, New York Hunting and Fishing in American Art World War II. Approximately 60 paintings and sculptures October 7, 2017–January 7, 2018 illustrated changing ideas about place, national identity, Winston-Salem, North Carolina community, wildlife, and the environment. Peabody Essex Museum, Salem, JOHN SINGER SARGENT Massachusetts Alice Vanderbilt Shepard, 1888 COMMANDING SPACE Commanding Space featured the work of five living women Art Institute of Chicago, Illinois Women Sculptors of Texas Texas artists, Celia Eberle, Kana Harada, Sharon Kopriva, Sherry Owens, and Linda Ridgway. These artists take the October 14, 2017–September 23, 2018 STUART DAVIS traditions of sculpture in new directions that range from Blips and Ifs, 1963–64 Below: Thomas Cole, The Garden of Eden, on view in evocations of history and metaphor to explorations of the Metropolitan Museum of Art memory, myth, and ritual. Crystal Bridges Museum of American Art, Bentonville, Arkansas IN HER IMAGE This exhibition featured four bodies of work by Lebanese Photographs by Rania Matar American photographer Rania Matar that trace the December 20, 2017–June 17, 2018 development of female identity through portraiture. THOMAS COLE Matar’s work addresses personal and collective identity by The Garden of Eden, 1828 photographing girls and women in both the United States and Middle East. Metropolitan Museum of Art, New York National Gallery, London ELLEN CAREY Dings, Pulls, and Shadows featured seven key works by Dings, Pulls, and Shadows photographer Ellen Carey that explore the artist’s interest January 17–July 22, 2018 in color, light, and the photographic process. Carey’s work depicts vibrant fields of color that are meditations on the very nature of photography. A NEW AMERICAN A New American Sculpture was the first exhibition to investigate the integral relationships between modernism, SCULPTURE classicism, and popular imagery in the interwar sculpture 1914–1945, Lachaise, Laurent, Nadelman, of Gaston Lachaise, Robert Laurent, Elie Nadelman, and and Zorach William Zorach. These four immigrant artists created figural February 17–May 13, 2018 sculpture that reveal a confluence of sources, from archaism and European avant-garde art to vernacular traditions and American popular culture. JAN STALLER Jan Staller’s video CYCLE revels in the abstraction of paper CYCLE & SAVED speeding down a conveyor belt on its way to being recycled. February 24–September 23, 2018 SAVED is a playful video of hundreds of small tools and toys accumulated by the artist. Together, the videos asked museum visitors to reflect on what we choose to keep and what we throw away. MULTITUDE, SOLITUDE Multitude, Solitude was a retrospective on the photographs The Photographs of Dave Heath of Dave Heath, whose powerful photographs of loss and June 16–September 16, 2018 hope conjure feelings of alienation and a desire for human connection. The exhibition highlighted the photographer’s black-and-white pictures of the 1950s and 1960s, an intense period of self-discovery and innovation for Heath. EXHIBITIONS LOANS 5 6 Research and Publications External Affairs The Amon Carter dedicates significant resources to advancing “University of Pennsylvania researchers have demonstrated that the study of American art, whether by general or project-driven a high concentration of the arts in a city leads to higher civic curatorial research, publishing, the Davidson Family Fellowship, engagement, more social cohesion, higher child welfare, and lower or lecturing on the collection. poverty rates.” —Richard Cohen, Americans for the Arts $10,139,056 total contributed revenue* Contributed revenue by source (excluding the Amon G.
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