Listing sponsored by
Scientific Breakthrough. No Shots
Science response to skin aging.
3200 Darnell Street
Fort Worth, TX
Phone: 817 738 9215 Toll Free 1.866.824.5566
The Modern Art Museum of Fort Worth is dedicated to collecting, presenting and interpreting international developments in post World War II art in all media.
The Modern Art Museum of Fort Worth is dedicated to the collection, exhibition and preservation of works of modern and contemporary art of the finest quality. The oldest art museum in texas, the Modern was chartered in 1892 as the Fort Worth Public Library and Art Gallery. Its governing entity, the Fort Worth Art Association, is a private, member-sponsored organization.
The permanent collection contains works by modern and contemporary masters from the U.S. and Europe.
The oldest art museum in Texas, the Modern Art Museum of Fort Worth has operated under different names since 1892.
It has been housed in its current location in Fort Worth's Cultural District since 1954. The building, designed by Aspen architect Herbert Bayer, underwent a major renovation by O'Neil Ford and Associates and reopened in 1974.
With the opening of the Amon Carter Museum in 1961 and the Kimbell Art Museum in 1972, the Modern, which was then named the Fort Worth Art Museum, began to focus on modern and contemporary American and European art.
The collection includes paintings, sculpture, works on paper and contemporary photography..
The collection is strongest in American art of the 1960s and 70s.
It also contains a core group of abstract expressionist canvases and 31 works by Robert Motherwell, including ten paintings and seven collages given in 1993 by the Dedalus Foundation, which was established at the time of the artist's death.
Recent acquisitions to the Modern's extensive collection of painting include works by Gerhard Richter, Anselm Kiefer, Philip Guston, Georg Baselitz and Susan Rothenberg.
Contemporary sculpture is on view year round on the museum grounds. Works by Deborah Butterfield, George Segal, Antony Gormley and Tony Cragg are featured.
The Modern's collection of international contemporary photography features works by Cindy Sherman, William Wegman, Andre Serrano, Carrie Mae Weems, Hiroshi Sugimoto, Bernd and Hilla Becher, Sophie Calle, Hamish Fulton and Cragie Horsfield, and video work by Bill Viola.
The New Modern Art Museum of Fort Worth
A new facility for the Modern Art Museum of Fort Worth, designed by Japanese architect Tadao Ando, will open in Fort Worth's celebrated Cultural District in 2002. Ths site is a 10.96 acre parcel of land located directly opposite the Kimbell Art Museum.
The Modern's new home will feature a significant increase in exhibition space, a restaurant, a stae-of-the-art auditorium and adiitional classrooms and studios.
Architectural models will be displayed alongside drawings composed by Mr. Ando and his associates. These architectural renderings will be exhibited in an ongoing installation devoted to the Modern's new building project titled The New Modern Art Museum of Fort Worth. This special installation will remain on view indefinitely in the museum's foyer gallery.
The Modern at Sundance Square
The Modern at Sundance Square is located on the ground floor of the historic Sanger Building, on the northwest corner of Houston and Fourth Streets in downtown Fort Worth. Built in 1929 to house Sanger's department store, the Sanger Building is listed on the National Register of Historic Places. The renovation of the Modern Art Museum's annex has been designed by Fort Worth architect Ames Fender, grandson of Wyatt Hedrick, the original architect of the Sanger Building.
Consisting of 4,650 square feet, The Modern at Sundance Square serves as an additional venue for the Modern's permanent collection and small-scale traveling exhibitions. One-third of the annex accommodates a larger branch of the Modern's gift shop. The shop offers a wide variety of unique gift ideas including books, handmade jewelry and crafts, educational toys, decorative stationary and select greeting cards. The Modern at Sundance Square is within walking distance of all the downtown hotels.
JULIE BOZZI: LANDSCAPES 1975-2003
November 23, 2003-February 22, 2004
Julie Bozzi: Landscapes 1975-2003; on view to the public November 23, 2003 through February 22, 2004. Special exhibition is included in general Museum admission; $6 adults, $4 seniors (60+) and students with identification, children 12 and under free, Modern members free. Julie Bozzi: Landscapes 1975-2003 was organized by the Modern Art Museum of Fort Worth.
Julie Bozzi creates American landscape paintings that portray a subconscious familiarity of American places. A resident of Texas since 1980, Bozzi often paints areas around Fort Worth and Dallas, along the Gulf Coast, and in the eastern Texas Piney Woods. Her approach involves sitting in her car near dusk in front of the chosen site and painting directly onto the canvas. The format of her works—narrow vistas—echoes the view through her car windshield. This format can be seen in Landscape with Two Poles, 1997, a work on paper measuring 4 x 9 1/4 inches, along with many other works in the exhibition.
“Always portraying the overlooked areas within a landscape—the parts without the usual dramatic or monumental elements—Julie Bozzi sees her choice of subject matter as a kind of rescue,” says Modern Associate Curator Andrea Karnes, the curator of the exhibition.
Born in 1943 in California, Bozzi attended graduate school at the University of California, Davis and participated in the arts program at the Skowhegan School of Painting and Sculpture in Maine. She began painting en plein air in the summer of 1975. The earliest works in the exhibition are from that year, and the most recent work in the exhibition was completed in 2003.
Bozzi reveals the many ordinary intersections between nature and culture. Her scenes depicted in this body of work show the backdrops that camouflage man-made structures, or small pockets of unmanicured natural growth within urban spaces. These works depict “outskirts”—the pockets of land where you find the empty six-pack, such as the scene in Bozzi’s painting Periphery of Botanic Garden (From Remote Parking Lot), 2001. This is where people go who are themselves on the fringe.
The artist’s formal compositions are as atypical as her subject matter. While the classic landscape scene invites the viewer in along diagonals receding into space, Bozzi’s paintings are invariably frontal. Space is created almost entirely through overlapping. In many cases, a barrier such as a wall, hedgerow, fence, or road makes up a significant part of the composition, denying easy access to the space beyond. This is seen, for example, in Santa Monica Boulevard near Bronson Avenue, Los Angeles, California, a work on paper from 1980. In this way, her landscapes reflect the acute objectivity of her own time. As she matured as an artist in the 1970s, Minimalism was in full force. Bozzi was clearly influenced by elements within the movement, applying some Minimalist characteristics to representational objects. Her non-hierarchical compositions, stripped-down colors, and the frontality of her pictorial field relate specifically to Minimalist sculpture and can be seen in almost all of her works.
Bozzi’s imagery also represents an eccentric synthesis of postwar portrayals of the American landscape. With progress, westward expansion, and a shift from agricultural to industrial development at the turn of the century, landscape painting evolved from projecting “the promised land” to mirroring a changing nation. Rejecting the romantic grandeur of their predecessors, the early twentieth-century Ashcan School created politically charged urban scenes with an imagery that acknowledged social problems. Artists involved with the Ashcan School, such as Arthur B. Davies, Robert Henri, and John Sloan, depicted, much to the distaste of their critics, scenes such as the alleyways and slums of inner-city dwellings. In the 1930s and 1940s, nationalism resurfaced with the Regionalists, among them, Grant Wood, John Steuart Curry, and Thomas Hart Benton, who celebrated the American lifestyle by depicting rural scenes in a concise manner. Bozzi, with her use of urban sites that appear rural, might be seen as creating gentler versions of these two extremes. However, more than the Ashcan School or the Regionalists, Bozzi’s work pays homage to the influential American painter Edward Hopper, who was painting at the same time as Benton and the Regionalists, but operated on the opposite end of the landscape spectrum. Bozzi’s work is more scaled-down and condensed, but both artists depict a straightforward, sober American landscape without epic markers or glorifications. Hopper painted the so-called “American scene,” but rather than being nationalistic, his works are personal and charged with a psychological impact, often conveying loneliness and the vacuity of city life. Bozzi’s works, like Hopper’s, indicate a darkness within the American character.
Julie Bozzi: Landscapes 1975–2003 is accompanied by a hardcover catalogue with a foreword by Director Marla Price and an essay by Associate Curator Andrea Karnes. The publication also includes color illustrations of all works in the exhibition and a biography of the artist. The catalogue will be available through The Modern Online at www.themodern.org and in The Modern Shop at the time of the exhibition.
Curator: Andrea Karnes, Associate Curator, Modern Art Museum of Fort Worth
Number/type of works: 46 paintings and works on paper
Chronological range: 1975–2003
Catalogue title/number of pages: Julie Bozzi: Landscapes 1975–2003 / 64 pages with 52 color illustrations, including 46 plates of works in the exhibition
Catalogue authors: Foreword by Marla Price and essay by Andrea Karnes
Special events in conjunction with the exhibition include:
November 18, 7 pm
Tuesday Evenings at the Modern featuring Andrea Karnes
Karnes’s presentation, Hidden in Plain Sight, presented in conjunction with Julie Bozzi: Landscapes 1975–2003, elucidates Bozzi’s familiar yet mysterious paintings, represented in the Museum’s collection by Embankment—Air Base, 2000 and Rubble Piles from Burial Plots—Cemetery, 1999. Admission to Tuesday Evening lectures is free to the public.
THE PAINTINGS OF JOAN MITCHELL
September 21, 2003–January 4, 2004
Joan Mitchell was part of the second generation of Abstract Expressionist artists in New York, and her emotionally expressive paintings are among the most radiant works in postwar American art. The exhibition surveys the artist's entire career, from 1951 until her death, and features nearly 50 works both intimate and grand in scale. The exhibition was curated by Jane Livingston and is organized by the Whitney Museum of American Art, New York.
SELECTIONS FROM THE PERMANENT COLLECTION
In this exhibition, new acquisitions are combined with the Museum’s well-known collection of international modern and contemporary art on the first floor of the new Modern’s 53,000-square-foot exhibition galleries.
THE COLLECTION ONE YEAR LATER
January 25–April 25, 2004
The Museum will present many highlights of the permanent collection in addition to a number of new acquisitions that will be officially announced in fall 2003. These new additions will represent the international scope of the Museum’s collecting policy, and range from works by contemporary masters to younger, emerging artists.
May 16–August 29, 2004
Modern Associate Curator Andrea Karnes is organizing an installation of works by Parisian artist Pierre Huyghe, whose work has won international acclaim and has been presented in numerous solo and group exhibitions. In 2002 Huyghe won the prestigious Hugo Boss Prize, administered by the Solomon R. Guggenheim Foundation in New York, and in 2001 he was chosen to represent France at the 49th Venice Biennale. The artist works in a variety of media, from sculpture to video to ephemeral installations, which often include simulated rain, snow, and fog.
General Admission Prices (includes
$4 Students with ID and Seniors (60+)
$6 General (13 to Adult)
Free Children 12 and Under
Free Modern Members
Tues–Sun 11 am–2:30 pm for lunch, 2–4:30 pm for coffee, snacks, and dessert
Menus are available online at www.themodern.org/cafemodern.html
The Modern Art Museum of Fort Worth's popular series of lectures by artists, scholars and critics resumes September 7. Join us at 7:00 p.m. on Tuesdays at the Modern's main location in Fort Worth's Cultural District.
On these days the museum will remain open with continuous hours from 10:00 a.m. - 9:00 p.m. Light refreshments are served. Admission is free and open to the public.
A regularly scheduled docent-led tour is available every Saturday at 2:00 p.m. The Modern's Saturday Tour does not require prior arrangements. It is offered for museum visitors seeking insight into the current special exhibition and is open to the public. As with all tours, it is free of charge.
Modern docents are also available to conduct tours of the museum's current exhibition throughout the week. Tours are available for groups of 10 to 60 persons and last about one hour. To make reservations, please call the Modern's Education Department at (817) 738-9215 at least two weeks in advance. Physically challenged, hearing impaired and other special needs groups are welcome. Advance planning is essential. Please call to discuss the needs of your group.
CLASSES and WORKSHOPS
Modern classes are designed to complement special exhibitions and explore the museum's permanent collection. Classes taught by local artists are held year-round in both the museum galleries and in the Modern's studio. Class materials are provided by the museum and the registration fee is reasonable. An enrollment discount is given to Modern members.
For more information, visit the Modern's web site at www.mamfw.org.
Dr. Marla Price, Director
Do you have any additional
comments concerning this site?
Do you wish to receive some information on how to get your museum on the Museums Tour?