{"id":413909,"date":"2025-11-30T00:08:37","date_gmt":"2025-11-30T00:08:37","guid":{"rendered":"https:\/\/www.europesays.com\/us\/413909\/"},"modified":"2025-11-30T00:08:37","modified_gmt":"2025-11-30T00:08:37","slug":"amon-carter-boosts-art-collection-in-2025-nbc-5-dallas-fort-worth","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/413909\/","title":{"rendered":"Amon Carter boosts art collection in 2025 \u2013 NBC 5 Dallas-Fort Worth"},"content":{"rendered":"<p>The Amon Carter Museum of American Art is adding to its collection. The Fort Worth museum acquired nearly 50 works by an interdisciplinary and intergenerational group of artists in 2025, enabling the museum to expand its storytelling around American art and the evolution of American creativity.<\/p>\n<p>\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Frazier-LaToya-Ruby_Flint-Water-Treatment-Plant_2016-2017.jpg\" loading=\"lazy\"   alt=\"LaToya Frazier flint Water Treatment Amon Carter Museum of American Art\"\/><\/p>\n<p>\t\t\t\t\u00a9 LaToya Ruby Frazier Courtesy of the artist and Gladstone<\/p>\n<p>\t\t\t\u00a9 LaToya Ruby Frazier Courtesy of the artist and Gladstone<\/p>\n<p>LaToya Ruby Frazier (b. 1982), The Flint Water Treatment Plant, Flint, Michigan, 2016-17, gelatin silver print, Amon Carter Museum of American Art, Fort Worth, Texas, P2025.1, \u00a9 LaToya Ruby Frazier. Courtesy of the artist and Gladstone. <\/p>\n<p>Spanning over 150 years of artmaking, the acquisitions include works by Edmonia Lewis, Cecilia Beaux, Elizabeth Catlett, John Rhoden. The museum also acquired a study for Seymour Fogel\u2019s mural, The Challenge of Space (ca. 1964), still visible to the public on the Federal Building in Fort Worth, enshrining a centerpiece of the city\u2019s history and culture in the museum\u2019s collection.\u00a0\u00a0<\/p>\n<p>Contemporary American art is also represented in the acquisitions, deepening the museum\u2019s holdings of contemporary photography. The acquired works include LaToya Ruby Frazier\u2019s \u201cFlint is Family in Three Acts\u201d and Cara Romero\u2019s \u201cFirst American Girl.\u201d The acquisition of Chuck Ramirez\u2019s full series \u201cSeven Days,\u201d featured in the Carter\u2019s exhibition Seven Days: The Still Lifes of Chuck Ramirez (on view through January 4, 2026) expands the museum\u2019s collection of still life art.\u00a0<\/p>\n<p>\u201cThis year\u2019s acquisitions support the Carter\u2019s ongoing mission to expand the stories our collection tells about the history of American creativity by extending the breadth of artistic perspectives it reflects,\u201d said Scott Wilcox, Interim Director and Chief Operating Officer of the Carter. \u201cFrom rare historical works to iconic modern pieces to contemporary and photographic works revealing wide-ranging viewpoints of the American experience, this continued broadening of the Carter\u2019s holdings is critical to enabling the Museum to engage both new and familiar audiences with a comprehensive rendering of American art\u2019s past, present, and future.\u201d\u00a0<\/p>\n<p>\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Shahn-Ben_Study-for-Red-Staircase-No.-1_1944.jpg\" loading=\"lazy\"   alt=\"Ben Shahn Study for Red Staircase Amon Carter Museum of American Art\"\/><\/p>\n<p>\t\t\t\t\u00a9 Estate of Ben Shahn \/ Licensed by VAGA at Artists Rights Society (ARS), NY<\/p>\n<p>\t\t\t\u00a9 Estate of Ben Shahn \/ Licensed by VAGA at Artists Rights Society (ARS), NY<\/p>\n<p>Ben Shahn (1898\u20131969), Study for Red Staircase No 1, 1944, watercolor and ink on paper, Amon Carter Museum of American Art, Fort Worth, Texas, Gift of Steve Osborne from the estate of William M. Osborne, 2025.5, \u00a9 Estate of Ben Shahn \/ Licensed by VAGA at Artists Rights Society (ARS), NY <\/p>\n<p><strong>Highlights of 2025 Acquisitions:<\/strong>\u00a0<\/p>\n<ul class=\"wp-block-list\">\n<li><strong>Marriage of Hiawatha<\/strong>, ca. 1866, by Edmonia Lewis. One of the most notable sculptures by Lewis, the first Black and Indigenous sculptor to achieve international success, Marriage of Hiawatha marks the Carter\u2019s first acquisition of Lewis\u2019 poetic and sensitive work, with this version being the first of the subject Lewis ever made.\u00a0\u00a0<\/li>\n<li><strong>Untitled (Female Figure with Arms Raised)<\/strong>, 1979, by Elizabeth Catlett.This work, whose form, stance, and gesture convey themes of strength, determination, and aspiration, represents Catlett\u2019s lifelong passion and commitment to depicting women through her sculptural work.\u00a0\u00a0<\/li>\n<li><strong>Mrs. John Frederick Lewis and Her Son, John Frederick Lewis, Jr.<\/strong>, 1908, by Cecilia Beaux. This full-length double portrait, rendered in the grand manner style, exemplifies Beaux\u2019s distinctive psychological portraiture practice and belongs to a group of seven portraits Beaux painted between 1898 and 1908 that brought her critical acclaim and widespread renown.\u00a0\u00a0<\/li>\n<li><strong>White Out: A Monumental Arch to American History<\/strong>, 2021, by Sandow Birk. Part of Birk\u2019s ongoing series, \u201cImaginary Monuments,\u201d which the artist began in 2007 during an artist residency at the Smithsonian, this etching offers a view of American history through the achievements of Americans of color.\u00a0<\/li>\n<li><strong>Mural Study \u2013 Fort Worth Mural<\/strong>, ca. 1964, by Seymour Fogel. This study for Fogel\u2019s mural, The Challenge of Space (ca. 1964), in the Federal Building on Taylor Street in Fort Worth, demonstrates the influence of the Space Race era on Fogel\u2019s abstract works, and reflects the impact of Fort Worth, its history, and its community.\u00a0<\/li>\n<li><strong>The Flint Water Treatment Plant, Flint, Michigan<\/strong>, 2016-2017, by LaToya Ruby Frazier. Part of Frazier\u2019s series \u201cFlint is Family in Three Acts,\u201d this photograph brings attention to the now-compromised infrastructure of Flint, Michigan, through which polluted water infiltrated the city in 2014, conveying how the industrialization of the U.S. landscape, once associated with prosperity and national wellbeing, has become now synonymous with the neglect of the working class.\u00a0<\/li>\n<li><strong>Seven Days: Birthday Party<\/strong>, <strong>Seven Days: Breakfast Tacos, Seven Days: Dia de los Muertos, Seven Days: Super Bowl at Lloyd\u2019s<\/strong>,<strong> Seven Days: KFC, Seven Days: Rancher Plate<\/strong>, and <strong>Seven Days: Tex-Mex<\/strong>, 2003, by Chuck Ramirez. This series of seven color-filled, maximalist still lifes featured in the Carter\u2019s current exhibition Seven Days: The Still Lifes of Chuck Ramirez (on view through January 4, 2026) explores issues of consumerism, identity, and hospitality by depicting what is left after dinners and parties are over and guests have gone home.\u00a0\u00a0\u00a0<\/li>\n<li><strong>Reclining Figure<\/strong>, 1963, by John Rhoden. This small-scale bronze is the first work by Rhoden to enter the Carter\u2019s collection, exemplifying the artist\u2019s unique figural style inspired in part by his travels through Asia and Africa.\u00a0<\/li>\n<li><strong>Amber Morningstar<\/strong> and <strong>Julia &amp; Joslynn<\/strong>, 2019, by Cara Romero. From Romero\u2019s series \u201cFirst American Girl,\u201d which draws inspiration from the American Girl doll brand, these works act as a counterpoint to the Euro-American dolls by providing an Indigenous viewpoint on womanhood and motherhood.\u00a0<\/li>\n<li><strong>Indian Portrait in Roma<\/strong> and <strong>Hollywood Cowboy in Roma<\/strong>, 1978, by Fritz Scholder. Rendered through etching and aquatint processes and displaying a flat Pop Art aesthetic, these two large-scale prints reflect Scholder\u2019s use of physiognomic distortions to critique cultural stereotypes and the representations of Indigenous people in Hollywood and Western culture.\u00a0<\/li>\n<li><strong>Study for Red Staircase No. 1<\/strong>, 1944, by Ben Shahn<strong>. <\/strong>Created by Shahn as the study for one of his most important paintings, The Red Stairway (1944), this work represents the artist\u2019s response to the horrors of World War II, evoking destruction, hope, and the endurance of the human spirit.\u00a0\u00a0<\/li>\n<li><strong>110th St. Central Park, Harlem<\/strong>, 1960s, by Shawn Walker. A powerfully concise visual summary of the triumphs and tragedies of the American Civil Rights Movement, this image of an African American boy holding an American flag also serves as a portrait of the perennial uncertainty and promise of adolescence.\u00a0<\/li>\n<\/ul>\n<p>\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Shawn-W._110th-Street-Central-Park-Harlem_ca.-1960s.jpg\" loading=\"lazy\"   alt=\"Shawn W 110th Street Central Park Harlem Amon Carter Museum of American Art 2025\"\/><\/p>\n<p>\t\t\t\t\u00a9 2025 Shawn Walker, Courtesy Bruce Silverstein Gallery, New York<\/p>\n<p>\t\t\t\u00a9 2025 Shawn Walker, Courtesy Bruce Silverstein Gallery, New York<\/p>\n<p>Shawn W. Walker (b. 1940), 110th Street Central Park, Harlem, ca. 1960s, gelatin silver print, Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds provided by the Photo Forum, P2025.23, \u00a9 2025 Shawn Walker, Courtesy Bruce Silverstein Gallery, New York <\/p>\n<p><strong>Learn more: <a href=\"https:\/\/www.cartermuseum.org\/\" target=\"_blank\" rel=\"noopener\">Amon Carter Museum of American Art<\/a> <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"The Amon Carter Museum of American Art is adding to its collection. The Fort Worth museum acquired nearly&hellip;\n","protected":false},"author":3,"featured_media":413910,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5138],"tags":[5229,1034,7371,7372,8160,358,3187,67,586,132,5230,68,2969],"class_list":{"0":"post-413909","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-fort-worth","8":"tag-america","9":"tag-art-and-culture","10":"tag-fort-worth","11":"tag-fortworth","12":"tag-museums","13":"tag-texas","14":"tag-tx","15":"tag-united-states","16":"tag-united-states-of-america","17":"tag-unitedstates","18":"tag-unitedstatesofamerica","19":"tag-us","20":"tag-usa"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115635743456886131","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/413909","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=413909"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/413909\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/413910"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=413909"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=413909"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=413909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}