The show derives its energy from the wide variety of ways in which the works form (or refuse to form) their own links—internally, with each other, and with viewers. In some cases, following these threads can lead you to the works’ political underpinnings.
Have you ever wondered how a painting gets its title? Sometimes a given title is straightforward, assigned by the artist at the time of production. But often over the intervening years, a painting’s “first title” can shift as it changes hands—a gallery might inadvertently begin calling it something slightly different; or it’s given a slightly […]
In 2015, the Amon Carter published the final installment of its triad of major publications on the art of Charles M. Russell (1864–1926). The three volumes began in 1993 with Brian Dippie’s landmark work on Russell’s illustrated letters, Charles M. Russell, Word Painter, followed the next year by Rick Stewart’s opus Charles M. Russell: Sculptor. […]