Talking Back! Youth Art Month

Talking Back! Youth Art Month

Congratulations to the winners of our annual teen art invitational, Talking Back! 

In celebration of Youth Art Month, each March we invite students grades 7-10 to respond to one of five works of art from our permanent collections. 

These students consider theme, context, media, and artist intent as they "talk back" to the original works with their own. 

This program is even more unique in that it is juried by the museum's Teen Docent Corps, who practice their own skills of observation and critique through the selection process. 

Take a peek at this year’s winners in each response category!

All category winners and honorable mentions receive funds for art supplies. 

SHSU Visit

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SHSU Visit

As a college student with an affinity for the arts, history, and community engagement, I jumped at the opportunity to do an educational field trip through the Southwest with SHSU’s Center for Law, Engagement, And Politics. Moreover, I was particularly excited when I learned that we would be stopping at the Old Jail Art Center (OJAC) as part of our learning adventure!

And what an adventure! Though relatively new to the art scene, I could recognize the breadth of OJAC’s collection. Before even entering the Museum’s interior, I immediately recognized and was thrilled to see three Jesus Moroles sculptures, all of which were more elaborate than those I have previously seen. 

Although specializing in Texas art, OJAC’s collection is impressively eclectic. The museum has a diverse range of media, styles, and historical eras represented, from pre-Columbian, to John James Audubon, to Paul Klee, to Jaune Quick-To-See Smith, to members of the Fort Worth Circle.  

There were several pieces that I was happy to see, including a few by James Surls—an SHSU graduate! I have had the chance to view his sculptures in other venues, but OJAC’s

I See Five was one of the most enthralling I have seen. Its spherical composition combined with Surls’ signature petals was by far my favorite piece of the Sam Houston State University’s day. Additionally, I enjoyed seeing some of his non-sculptural work, especially a piece titled, “On Being in her Mystery.”  

I was also gratified to see works by new (to me) artists.  I particularly liked Nature Morte aux Roses, by Henri Fantin Latour. In fact, this piece prompted me to research the artist, and I learned that his use of roses was a hallmark of his overall work.

The current exhibits were also impressive.  Leigh Merrill’s Garden of Artificial Sugar and Karla Garcia’s When the Grass Stands Still both offered thought-provoking experiences, and the visual impact was complemented by the informative gallery guides, which include short interviews with the artists. This touch not only enriched my experience, but also helped me develop an appreciation for the art before me.

Another aspect of this visit that I thoroughly enjoyed was the historic nature of the building itself. The core of the Art Center is the county’s old jail building, which adds to the venue’s charm and character.  And as a criminal justice major, I especially enjoyed the experience of entering a former jail cell to view Karla Garcia’s When the Grass Stands Still—perhaps the perfect juxtaposition of setting and subject matter.

This was my first time in Albany, Texas, and I greatly enjoyed the beauty provided by the OJAC in this corner of Texas. From its educational efforts in the larger community, to its vast collection of art, and to its friendly and knowledgeable staff, the OJAC adds to the Lone Star State’s cultural richness and to every visitor’s cultural development. 

More than anything else, the Armory Show was about freedom: new ways of thinking and seeing, and individual expression. The show’s motto, "The New Spirit," was connected not just to changes in the visual arts, but also to social, cultural, and political transformations in the early part of the last century. The OJAC is proud to uphold this new spirit with representation of the following influential artists whose work was included in the original Armory Show.

Olivia Discon, Sam Houston State University Student

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Armory Show

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Armory Show

Henri de Toulouse-Lautrec, Au bal masqué – les fêtes parisiennes – nouveaux confettis (Masked Ball), 1892, watercolor, India ink, graphite on paper. Bequest of Marshall R. Young Jr. 2001.013

Looking back 120 years ago, many Americans had their first opportunity to see works of art by Pablo Picasso, Henri Matisse, Marcel Duchamp, Paul Gauguin, Paul Cézanne, and Vincent Van Gogh, all together for the very first time. This extraordinary event, the International Exhibition of Modern Art, became more widely known as the Armory Show of 1913. It still ranks as the most influential art exhibition ever held in America.

 

The Armory Show was an ambitious installation of nearly 1,400 objects that included both American and European works. It was organized by a group of young artists who called themselves "The Association of American Painters and Sculptors." This small group raised money, rented the expansive 69th Regiment Armory building, transported the art, staged the exhibition, and generated publicity—all without public funding. The three-city exhibition began in New York City, then traveled to Chicago and Boston, where more than 250,000 visitors paid to see the art.

 

The Armory Show is best known for introducing Americans, who were accustomed to realistic art, to the experimental styles of the European avant-garde. Critics reviled the experimental art as "insane" and an affront to their sensibilities, and the public responded with hostile demonstrations. The controversy, heightened by the media, stirred up considerable public interest in modern painting and sculpture. Nevertheless, the Armory Show did manage to find some supporters and had a hugely beneficial effect on artists and dealers. The polemical responses to the show have come to represent a turning point in the history of American art.

 

Historically, abstract painting would not supercede realism in America for another 30 years, but the Armory Show initiated a vital link between Europe and the United States. Over the next three decades, thousands of European artists took advantage of this link (especially during the 1930s) to seek sanctuary for themselves and their families, influencing numerous American artists in the process. Thus began an important two-way exchange of artists and creative ideas, which contributed directly to the emergence of New York as the center of the art world.

 

More than anything else, the Armory Show was about freedom: new ways of thinking and seeing, and individual expression. The show’s motto, "The New Spirit," was connected not just to changes in the visual arts, but also to social, cultural, and political transformations in the early part of the last century. The OJAC is proud to uphold this new spirit with representation of the following influential artists whose work was included in the original Armory Show.

  • Georges Braque

  • Pierre Puvis de Chavannes

  • Andrew Dasburg

  • Honoré Daumier

  • Francisco Goya

  • Gaston Lachaise

  • Marie Laurencin

  • Henri de Toulouse-Lautrec

  • Wilhelm Lehmbruck

  • Aristide Maillol

  • Henri Matisse

  • Jules Pascin

  • Pablo Picasso

  • Pierre-Auguste Renoir

  • Georges Rouault

  • John Sloan

  • Jacques Villon

 

Amy Kelly

Collections Manager / Associate Curator

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Bridging the Gap

Bridging the Gap

JAUNE QUICK-TO-SEE SMITH, Untitled, 1970s, pastel on wove paper, 28.5 x 21 in. Bequest of Bill Bomar known as the Jewel Nail Bomar and William P. Bomar Jr. Collection. 1993.089     

Artist and activist, Jaune Quick-to-See Smith was born in 1940 on the Flathead Reservation in Montana; a citizen of the Confederated Salish and Kootenai tribes. Her first name, Jaune, means "yellow" in French, pointing to her French-Cree ancestry. Her Indian name, "Quick-to-See," was given to her by her Shoshone grandmother as a sign of an ability to grasp things readily.

Unfortunately, the “powers that be” have not always been as quick to recognize her creative talent and contributions to art and advocacy. In 1976, having earned a bachelor's degree in Art Education, Smith moved to Albuquerque, NM to start graduate school at the University of New Mexico (UNM). She applied three times and was successively turned down each time. After an eventual exhibition at the Kornblee Gallery in New York City and its review in Art in America, she was finally accepted into the graduate program at UNM where in 1980 she graduated with a Masters in Art. Formal studies of classical and contemporary arts, focusing on European and American artistic practices, served as her most influential point of access to the contemporary global art world.

As a student, Smith worked primarily in pastels, described as drawings of enigmatic maps with floating pictographs and tracks of places that were meaningful to her—seemingly a response to professors who emphasized abstraction. Though originally undated, Smith’s drawing in the OJAC collection appears to reflect this period of her work, with its rectangles of subdued colors and quickly drawn then partially erased symbols. Today, Smith’s works are often large-scale, multi-media, and multi-layered. She combines traditional tribal motifs and contemporary symbols to bridge gaps between Indigenous and non-Indigenous cultures and to educate about social, political, and environmental issues existing deeper than the surface.

Over the last five decades, Jaune Quick-to-See Smith has been included in nearly 100 exhibitions, and in 2020 a painting of hers was the first by a Native American to join the collection of the National Gallery of Art in Washington, DC. Over the summer, the 83-year-old Smith was the subject of a retrospective at the Whitney Museum of American Art in New York City—the museum's first retrospective ever of an Indigenous artist. The exhibition, titled Jaune Quick-to-See Smith: Memory Map will travel to The Modern Art Museum of Fort Worth this fall, and will remain on view October 15, 2023 - January 21, 2024.

 Amy Kelly

Collections Manager and Associate Curator


“Art that people want to see.”

“Art that people want to see.”

I was recently in a museum committee meeting discussing acquisitions of art to the collection. A member stated we should acquire, “art that people want to see.” (I may be misquoting but it was something similar.) That statement stuck in my head and got me thinking. It also stimulated my tendency to overthink some statements—deconstructing the sentence and then analyzing each word and its potential meaning. As a museum Director and Curator, I know that such a requested task is riddled with both objective and subjective decisions. Follow my line of thinking here…

 

“Art”

Every person has their own parameters as to what they “like” or even what qualifies as art. It reminds me of a project created by the dissident Russian artists Vitaly Komar and Alex Melamid as they attempted to discover what a true "people's" art would look like. Through a professional marketing firm, a survey was conducted to determine what Americans prefer in a painting; the results were used to create the painting America's Most Wanted—as well as least wanted. The project also studied other countries to determine what they did and did not prefer in a painting. It’s very interesting and you should check out the project at Dia Foundation’s website. https://www.diaart.org/exhibition/exhibitions-projects/komar-melamid-the-most-wanted-paintings-web-project

 

“People”

What people? Are they those that have the same background, beliefs, or race; from the United States; age group; educated in art or those who are less so; socio-economic status; or some other demographic? I hope you see my point.

 

“Want”

Often what we “want” or seek is that which is familiar. Personally, I like to be introduced to things that challenge me and surprise me, or see and experience things I did not anticipate. When I was a child, I wanted M&M’s and chocolate milk for dinner…to my delight and wellbeing, my parents introduced me to other things.

 

“See”

I like to think we see art first and then hopefully experience it second. Otherwise, it’s just eye candy.

 

Determining what art people want to see is a monumental, and perhaps, unattainable goal. It involves exposing people to a variety of art forms, perspectives, and even things that they didn’t think they even wanted to see. Who knows…they may like things other than sweet chocolate, if you offer it to them.

 

Patrick Kelly

Executive Director and Curator

Bird Watching

Bird Watching

A recent grouping of art works, featuring bird imagery from the permanent collection in the OJAC’s entry gallery, inspired a deeper and fruitful dive into the life and work of artist Françoise Gilot.

 

Françoise Gilot was born in 1921, grew up in Paris and London and began studying art as a young child. She decided to be a painter at age 5, was a professional artist by age 19, and remains an influential artist at age 101. Throughout the 1980s and 1990s, Gilot designed costumes, stage sets, and masks for productions at the Guggenheim in New York City. In 2010, Gilot was awarded the Officer of the Légion d'honneur, the French government’s highest honor in the arts. Gilot’s influence and popularity continue today; just last year, she was described as an “It Girl” by The New York Times.

 

Gilot’s personal relationships have sometimes overshadowed her significant artistic career. At 21, Gilot met Pablo Picasso, then 61. Though Picasso and Gilot spent almost ten years together and share two children—Claude and Paloma—Gilot and Picasso never married. In 1955, she married the French artist Luc Simon. Their marriage lasted only a few years and produced one daughter, Aurélia. In 1970 she married Jonas Salk, the developer of the polio vaccine; their marriage lasted until Salk's death in 1995.

 

Currently on view among the bird installation is Gilot’s lithograph, Little Girl with Owl, 1966. It is now clear that the work is actually a portrait of her daughter, Aurélia Simon. In this work, Aurélia, with long straight hair and bangs, is around 10 years old. She wears a high-neck long-sleeve dress of red, black, and green whose colors mimic the garden in which she stands flanked by a pair of tall trees. Her arms are bent to cradle an owl, possibly a childhood pet. Both the girl and the owl stare out at us with large pensive eyes.

 

Today the artist’s daughter, Aurélia Simon Engel, is the director of the Françoise Gilot Archives, which is responsible for maintaining and authenticating Gilot’s massive body of work, running Gilot’s galleries, and directing exhibitions at other galleries.

 

Note: This work was received by bequest from H. Frost Bowman, who also donated the majority of the OJAC’s vast Pre-Columbian collection.

Amy Kelly

Registrar

Young Girl with Owl (aka Aurélia and the Owl), DETAIL,1966. FRANÇOISE GILOT. Color lithograph. 2001.017

A Picnic for Hanami

Handprinted Japanese Book (Page Selection), c. 1945. Bound rice-paper, polychrome and gold leaf, SC.084

It is officially spring! This means it’s currently Hanami Season in Japan! 

As one of the most popular events in the spring in Japan, Hanami, meaning “flower viewing,” is the traditional Japanese custom of viewing and enjoying the beauty of cherry blossoms when they are in full bloom, which happens to be at the end of March until the beginning of May.

Traditionally it’s a festival of food, drink, song and dance. Families will set up blankets and tarps for a picnic, finding the perfect spot for viewing the cherry blossoms can be somewhat competitive, even company groups will send someone out early in the morning to claim the perfect spot. 

Cherry blossoms come in many colors ranging from light pink, to white, dark pink, and even yellow and green. Making it the perfect atmosphere for a picnic outing! 

Traditionally, picnic food can be carried in a Jubako. The word Jubako means “tiered box,” and are actually traditional, multi-tiered lunch boxes! There can be anywhere from 2 to 5 stacking layers to this type of lunchbox. Most Jubako had 3 layers, but the fancy ones had 4 or 5! We have 2 in our museum collection.

So let’s explore a bit of the tradition behind these unique artifacts! In ancient Japan, these fancy lunch boxes were used to transport food for the samurai and upper classes. They later became more popular and commonly used during the Edo period, though, (which was between the 16-1800’s). And they were used for anything from daily lunches, to special occasions.

The contents of the lunchbox were traditionally eaten cold, and similar to the idea of “courses”- one at a time and in order from top to bottom. It would be typical to tailor the meal to the occasion. So, for Hanami, the foods would be pink in color, or dyed pink to match the Sakura Blossoms. Popular food for Hanami Festivals would include: Hanami dango, a chewy tri-colored treat of pink, white, and green made from rice flour, Cherry Blossom Cookies, Milk pudding, Rice Balls, and sakura mochi, red kidney-bean paste wrapped in a salt-preserved cherry blossom leaf.

Jubako could be crafted from different types of materials..anything from carved lacquered wood to fine porcelain and could be different shapes, as well. Some were cylindrical, some hexagonal or octagonal. Most had really beautiful, intricate painted motifs, though. 

Now let’s take a closer look at the Jubako in our museum collection.

Jubako (4-tiered food container) Early 20th century, Porcelain with underglaze cobalt blue. 1981.323

This one is from the late Meiji Period- which dates it to somewhere between 1868-1912.

It’s a 4-tiered round stacked-box made of porcelain with an underglaze of cobalt blue. It’s perched on an intricately carved decorative base.  

Because of its materials and sleek design, even though the piece is fully functional it’s also highly decorative. 

It was probably only used for important meals at home- like for special occasions or holidays such as the Osechi Ryori Feast– which is a traditional meal enjoyed on New Year’s day.

Jubako (4-tiered food container) 19th century Japanese, Meiji Period (1868–1912). Glazed polychrome porcelain. 2009.004

The second Jubako in our collection from the same time period…but it’s a bit different in style. Imari ware pieces like these were typically decorated in underglaze of cobalt blue- and then red, gold, and black outlining were added in overglaze. This was a very popular and very successful style for Jubako during the late 1800’s.

Note that though it has the same number of tiers as the other one, this lunchbox is wider and a bit more stable- and without a decorative base.

This beautiful piece could have traveled with its owner, possibly to work or on family outings such as Hanami picnics!

Antique Jubako like these of our collection are considered works of art- highly prized for their beauty and craftsmanship. 

And Jubako are still used in Japan and around the world even today. 

But the materials, style and usage can be quite different. Now you’ll see them made from bamboo, plastic or resin. They can also be purchased in just about any design or fun shape imaginable.

Some come with extra compartments for drinks, and soups, or some more specially designed for picnics and large gatherings. There are even some sakura shaped or themed Jubako especially for use at Hanami gatherings!

I do recommend you explore more traditions of this beautiful festival online.

Even if there are no cherry blossoms nearby, I hope you enjoy a shady picnic outside this spring with your friends and family. It’s one of the best ways to celebrate the new season and all that it brings!

Kellie Bellah

Visitor Services Associate

Images, Images, Everywhere…

Images, Images, Everywhere…

Depending on whose data you trust, some 3.2 billion (that’s 3,200,000,000) images are shared daily on social media, not to mention the number of videos, which is around 720,000 hours daily. That number seems to grow exponentially. The content ranges from innocent images of our pets to deep fakes that attempt to sway the truth in order to manipulate us. In addition, sophisticated algorithms curate what we view—if you tend to seek out images of cats swimming, social media platforms give you more images and videos of cats swimming! 

Our access to this massive amount of image data and the ways in which we interact with it are explored through the work of Luke Harnden in his current exhibit at the OJAC titled Dreams of You. Through his process, he selects an image from his various sources: social media, personal photographs, and even those from print materials. Each individual image Harnden chooses to manipulate into a painting is thoughtfully considered. The results of his endeavors seem to slow the image viewing process, more than we are now accustomed to or comfortable with. We can now consider it more carefully….yet in doing so it seems to disintegrate before our eyes.

Regardless of whether it’s billions of images we attempt to retain or just one, they are all fleeting—disappearing as a dream or distant memory.

 

Patrick Kelly

Executive Director & Curator

Diver, 2022. LUKE HARNDEN. Acrylic on Canvas. Courtesy of the artist and Barry Whistler Gallery, Dallas.

Spring Giftshop Highlight

In Asche für Paul Celan, Anselm Kiefer creates a dialogue with the work of Paul Celan, the Holocaust survivor and great German-language poet, who has influenced the artist’s output since adolescence. Celan experienced the horrors of the Nazi concentration camps, having been forced to work at one and having lost his parents at another.

In response, Celan chose poetry for his account of the barbarism of the Nazi regime. In the words of Anselm Kiefer, “Celan does not merely contemplate nothingness; he has experienced it, lived through it.”

ANSELM KIEFER, Asche für Paul Celan, 2006, mixed media, 157.5 x 98.5 in. Tia Collection, Santa Fe, NM.

On loan from the TIA Collection in Santa Fe, NM, Kiefer’s subtext imbued sculpture features a 13-foot representation of a German U-boat constructed of lead as its central element. The large boat is pinned motionless to the floor by a stack of immense books, also of lead, surrounded by concrete rubble. 

Following your visit to our galleries this Spring, I recommend you continue your exploration of Kiefer and the poet that inspired this meaningful work. Find and purchase these terrific options in our physical or online giftshop (links below).

Kellie Bellah

Visitor Services Associate

 

Webb Family in Albany, TX

Webb Family in Albany, TX

The Webb Family first came to Shackelford County in 1883, with Sam Webb (1855-1927) arriving in Albany just two years after the railroad had connected a terminus in the small, growing town. He purchased a large ranch six miles east of Albany where he lived with his wife and seven children. Partnering with his father, General William Graham Webb, he set up a Real Estate and Insurance business called Webb and Webb. After his father’s death, Sam went into business with Louis Hamilton Hill to become Webb and Hill.

Over the years, the business was involved in real estate, insurance, and to a lesser extent, cattle sales. For a short period time in the early years a man named Campbell also joined the enterprise and as lawyers he and Webb offered legal services. Over the course of the next three decades, the business name changed as partners came and went, but Sam Webb remained a mainstay until he retired in his later years.

Within a few years of his retirement Sam’s son, William Graham Webb Sr. (1879-1961), in partnership with his own two sons William Graham Webb Jr. (1901-1977) and Sam Richard Webb (1913-2008) founded a new real estate and insurance firm in 1932. The business’ name once again returned to Webb and Webb.

Beyond their business enterprises, the Webb Family were deeply committed to and active in their local community. W.G. Webb Sr. was instrumental in the creation of the Fort Griffin State Park, and it was also through this persistent efforts what the Ledbetter Picket House was moved to Albany and kept intact as an example of frontier living.

William Graham Webb Jr. worked on a volunteer basis as a reporter covering local Albany events for the Albany News, the Abilene Reporter-News, and even the Fort Worth Star-Telegram.

Sam Richard Webb worked tirelessly for the Fort Griffin Fandangle, the Albany Chamber of Commerce, the local American Legion, the Albany Dance Club and the Albany High School Ex-Students Association. Sam continued to helm the Webb and Webb insurance agency until his retirement in 1990.

Their oldest sister, Virginia May Webb (1902-1983), married Albany transplant and oilman Graham Peterson Crutchfield. They were both active in the Fort Griffin Fandangle, with G.P. playing a vital producer role while Virginia was a regular cast member. Both had a love for outdoors activity and hunting, and enjoyed the opportunities for both that Shackelford County provided.

The Last Goodbye

The Last Goodbye

Sadly, my time has come to an end here at the Old Jail Art Center. I still remember the first time stepping into the building and being given an impromptu tour. There were so many exhibitions of all different types, and I was enamored with the huge photography exhibit on display. I was so impressed with the space and walked out knowing I wanted to work here. 

Being a big-town girl, moving to this area was quite the transition, but I loved getting to know the community and all of its characters! From going to my first ever Fandangle, then being invited to Betsy Senter’s iconic dinners, to seeing Albany High School win state at the Cowboy Stadium, I couldn’t get enough of the small-town charm. I am truly going to miss hearing that courthouse bell ring every 30 minutes! 

I want to give a huge thank you and put a spotlight on the staff of the Jail. You really could not ask for better coworkers. I have loved getting to know everyone on the staff and having compelling conservations on topics from movies, to cats, to BTS. Thank y’all for taking a chance on me and giving me one of the best jobs I know I will ever have. 

This institution has touched my life in so many ways. I am so proud to have worked here and been exposed to the amazing collection the OJAC has to offer. No matter where I go I will always hold Albany and the Old Jail Art Center close to my heart.

… And when I become a member I’ll be seeing all of you at the exhibition openings, but this time as a guest! 

Signing Off,

Kirsten Hahn 

Family and Public Programs Coordinator

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Head in the Clouds

Head in the Clouds

In recent gifts to the collection, the OJAC has been quite fortunate to receive two unique “cloud” works by Austin-based artist Brad Tucker. The first, titled Exposed Midriff, is a gift from Jaime and C. Sean Horton. The work is constructed of chocolate brown fabric stretched over an exposed cloud-shaped plywood frame. The second is a work on paper that includes a cluster of overlapping cloud rings on a cyan blue background. This work, titled Clouds, was received from The Carter/Wynne Family Collection, and also exhibited in the OJAC’s Paper Chase exhibition last summer.

 

I’ve always been a fan of Brad Tucker’s cloud works and was curious to learn about the origin of this recurring motif, so I asked the artist to share his thoughts. Tucker says he began making the cloud-shaped works shortly after he graduated from UNT in 1991. At the time, working at a sign shop in Irving, Texas, his job was bending strips of metal and tin into channel letters that would house neon lit, Plexiglas faces. To make curves, thin metal strips were wrapped around steel pipes; to make angles, he used a sheet-metal break. It was tedious work, but Tucker says there actually was a connection between the work he was doing at the sign shop and the shaped-canvas, object paintings he’d been making at UNT. One day, Tucker took an odd strip and repeated the pattern: curve-angle-curve-angle, and so on. When he joined the ends of the strip, the result was a cloud-shaped aluminum loop.

 

Happy with the results, Tucker then began transferring that shape to similarly formed painting supports. “Even though I employed self-determined rules for drawing the clouds (the humps all had to have the same paint can radius), they always came out looking like they didn’t take themselves too seriously.” Tucker says initially he was put off by descriptors such as “cartoon-like,” but has come to appreciate the term; and recognizes that the combination of sophistication and goofiness are what gives the work lasting appeal.

 

Over his career, the artist continues to return to the cloud motif to explore new facets of the form. He enjoys the fact that their rounded edges lend themselves to nontraditional hangings. The shapes foster unexpected modes of presentation as individual clouds give way to cluster groupings which then lead to new narratives.

Exposed Midriff, 2000. BRAD TUCKER. Fabric, latex paint, plywood. 21 x 23 x 1 in. Gift of Jaime and C. Sean Horton. 2022.007

Clouds, 2020. BRAD TUCKER. Graphite, watercolor, and cyanotype on paper. 16 x 13 x 1 in. Gift of the Carter/Wynne Family. 2022.010

Amy Kelly

Registrar

Slurpy, Syrupy, Strawberry Swirler

Slurpy, Syrupy, Strawberry Swirler

One of my favorite contemporary works from our permanent collection is a painting by Ft. Worth Artist Nancy Lamb. Are you familiar with her work? If not, I think you’re about to fall in love, but first, let me introduce you to the artist.

Nancy Lamb was born in 1956 and formally trained at Texas Christian University and the Fort Worth Museum of Science and History, where she taught ceramics from 1970 to 2004. Her main styles of work include drawing, oil painting, and watercolors. 

Almost all of Nancy's work is extremely human-centric. These oddball portraits reflect parties, poker tables, pools, and laundry rooms! The pops of color are always noticeable and also an interesting frame of reference or cropping. I think this quote by Jeffery Jackson sums up her work perfectly, “Most notable are her recent oil paintings, which depict every aspect of social interaction, telling snapshot tales of interpersonal intrigue which entice the viewer to partake in the events so vividly portrayed—who are these people?  What do they mean to each other?  What do they tell us about the human condition?  Her characters, though nameless, haunt one after first acquaintance; they are our friends, our neighbors, our families, ourselves, thrust under the microscope in a way which rather brings to mind what Martians might see when they look at us.  As Ezra Pound once challenged writers to "make it new", never perhaps has a modern artist done so for that most ordinary of subjects—man.”   

Back in 2010, Nancy’s work was exhibited in the OJAC Cell Series- which showcases Texas or Texas-connected contemporary artists.  Her show was entitled “The Business of Pleasure.” She was actually one of the first artists who got to work upstairs freely in the jail as 5th installment in the series and that exhibit still stands as a museum staff favorite to this day. Judson Petty, nephew of our founder Reilly Nail wrote of the exhibit: “.. Lamb gives homage to the people who make the merriment happen. These are the waiters, the bartenders, the musicians and other performers who strive to secure the satiation of such"bacchanalian bon vivants." Enter this exhibit with joyous anticipation, and plan to leave enlivened and grateful. In these new watercolors and earlier oils, the textures taunt you, the colors caress you, and you will only want more. And later, if you wish, write a quick thank-you note to Nancy Lamb, for she is the host who has served you with delight.” 

Let me introduce you to a work from that show- that is now a part of the museum’s permanent collection: Slurpy, Syrupy, Strawberry Swirler! What immediately drew me to this watercolor are the vibrant pops of color. Like most of her work, this one is as colorful and engaging as the artist. Lamb is a big and bright personality who doesn’t seem afraid to put big color on a canvas. Also, the unusual framing of the piece just draws you in, right? The perspective is so engaging. I love how you can examine the body language of our subjects, but not see their face. It almost feels as if I am at a corporate dinner or Holiday party. 

It’s also an interesting interaction between “business man” and waiter which Lamb explored in this show, she wrote “I have been contemplating this dynamic for about ten years. There is a whole other group of people that attend the same occasions inside the same structures, but with a completely different purpose and attitude, yet they are essential to the success of the celebration. What attracts me to the people in the background are their uniforms, their helpfulness and hard work. They need their time in the limelight as well! Isn't it the kitchen or bar that holds the most magnetic allure and comfortable fascination at a party?” 

All of these concepts come together to create this beautiful piece of work that is multifaceted at every level of interpretation.

Kirsten Hahn

Family & Public Programs Coordinator

A Reflection on Martin Luther King Jr. Day

A Reflection on Martin Luther King Jr. Day

In considering this day, I want to share Evaline Sellors’ terra-cotta sculpture of a young African American girl titled Blue Hyacinth, dated 1940. In a 1989 interview recorded at Evelyn Siegel Gallery in Dallas, the artist talked about the young girl who posed for the sculpture. Sellors said the seven-year-old came by the back door of her studio repeatedly looking for work, so she paid her 50¢ to model for the sculpture. When asked about payment, it is unclear if it was 50¢ a day or for the entire time, as the conversation is cut off. Sellors also indicated that the title reflects not the girl’s name, but the blue hyacinths that decorated her summer dress.

 

While today is a holiday that bears the name of and honors civil rights activist Martin Luther King Jr., it is also important to recognize the countless individuals whose names remain unknown to us—those who face the same long-established racial discriminations and carve out lives for themselves despite it.

 

Amy Kelly

Registrar

Evaline Sellors, Blue Hyacinth, 1940, polychrome on terra cotta. OJAC Collection, Gift of Mary Eleanor Witherspoon. 1995.013

Fukujuso Flowers for the New Year

Fukujuso Flowers for the New Year

Happy New Year from the OJAC! 

Each new year is celebrated with traditions that symbolize hope for health, new beginnings, and good fortune. In our corner of Texas, those Western traditions might include eating black eyed peas for each day of the year, cabbage and cornbread for wealth, or staying up till midnight to shoot off fireworks or watch the ball drop on tv.  What are some of your family's traditions? 

In honor of the Season, I thought I would share a work from our permanent collection that reflects a unique reference to the New Year and cultural symbols of its celebration.

First a bit about its artist. Keisai Eisen, who was actually born with the name Ikeda Eisen, was raised at the turn of the 19th century in Edo Japan– which is now modern day Tokyo. The son of a noted calligrapher, Ikeda worked as an apprentice to notable painters and ukiyo-e printmakers- such as Kanō Hakkeisai, Kikugawa Eiji and Kikugawa Eizan. He was very influenced by these teachers, and actually took parts of their names to create a new name or pseudonym for himself as an artist. (He would be known as Keisai Eisen for the remainder of his career. ) 

It actually didn’t take long for Eisen to become a well-known artist himself. He created works in a variety of popular themes such as landscapes, folktales and surimono (which were commissioned works with personalized, poetic messages of blessings and good luck-wishes). These surimono prints were commonly made for the new year or other important milestones and celebrations.

But by far the genre and works for which he became most recognized were his “bijin-ga” woodcuts. Bijin-ga are prints of beautiful women. Most bijin-ga are portraits and full-length studies depicting the beautiful fashion of the Edo era, as well as everyday scenes of courtesans and geisha.

The OJAC collection work on the right is titled “Woman Wearing Kimono with Fukujuso Flower Pattern.” This Elsen bijin-ga print depicts a young woman wearing a blue kimono looking at plants. Her blue kimono- blue often being associated with luck- has a pattern of butterflies and what are called “Fukujuso” flowers. 

The flower pattern on her kimono is what connects this piece to the New Year!

The Fukujuso flower is a golden yellow flower that grows in many mountainous areas of Japan. The flower blooms during the New Year of the traditional lunar calendar.

The name Fukujuso means “plant of good fortune and long life”, and despite actually being a poisonous flower to consume, it became a symbol of the New Year bringing good fortune, long life, blessing, luck and wealth. 

Back in the Edo period, it was sold in small pots to sell for the new year! It’s been used for hundreds of years as special decoration for new years celebrations.  


The exploration of New Year Symbolism in this piece led me to discover a few other Japanese traditions. Are you familiar with any of those listed below?

  • Hatsumode: This is the first shrine visit of the new year. People and Families visit a shrine at the beginning of January to pay respects and receive a fortune for the year ahead. 

  • Ffukubukuro: These are fun, surprise bags that are sold by many retailers during the New Year season. They are purchased without knowledge of their contents, but are highly desirable as the collective retail value of the items inside are usually worth far more than the purchase price of the bag! Many people wait in long lines for these bags, which typically sell-out very quickly.

  • Nengajo: New Years Cards/Postcards that are sent to friends, family, and co-workers. (Much like the western tradition of Christmas Cards). These postcards are usually sent between January 1st- 3rd, and are beautifully printed with elaborate designs. Some are handmade or decorated with family photos from important events (such as a vacation, graduation or wedding) that took place the previous year. The most popular Nangajo design each year typically reflect that years Chinese Zodiac Animal. (Which means many Nengajo sent this month feature a rabbit motif!)

Kellie Bellah

Visitor Services Associate

Woman wearing Kimono with Fukujuso flower pattern, 19th century. KEISAI EISEN. Polychrome woodblock print on paper. 2003.021

One Man's Trash..

One Man's Trash..

Shelby David Meier’s OJAC Cell Series exhibition is aptly titled Almost Everything and More.

In one gallery, the artist filled the space with what appears to be a collection of random debris or trash. As one studies the individual elements it becomes apparent that the objects are not just things that the artist has randomly collected and placed in the context of art. Each object has been crafted individually by the artist and some objects are not what they appear to be. What seem to be folded packing blankets are in fact solid concrete forms. What looks like the remnants of takeout Styrofoam containers are in fact facsimiles of the same in cast unglazed porcelain. The color and detail in the form give few clues they are formed from a material that has been utilized for centuries.

Museums are filled with objects whose origins may have been for utilitarian use—the creator never intending the object be collected or displayed in an art museum. I know Shelby David Meier is very aware of this idea, but what of the viewer? Recognizing that art can pose more questions than answers, Meier’s installation does just that. Who decides what is trash and what is treasure? Is it art just because it’s in a museum? What is the difference between art and artifact? And finally, what is the role of art? Is it to make the viewer think or just visually please? Artists have pondered similar questions over the decades, and the work they create in response can often blur lines.

 

Patrick Kelly

Executive Director

My OJAC Museum Studies Internship

My OJAC Museum Studies Internship

My parents exposed me to historical sites at a very young age, and I fell truly, madly, deeply in love. I distinctly remember being nine years old, standing in front of a “staff only” door in Neuschwanstein Castle castle in Bavaria, Germany, and deciding that I was just going to have to become a historian so that I would be allowed to see everything. My time as the museum studies intern at the Old Jail Art Center has granted my long held wish to get to see every part of a museum/ historical site. 

When I first heard about this internship, I knew it would be a dream come true. I have a deep rooted passion for public history, but I’ve struggled with figuring out where to focus this passion in pursuit of a career. Being granted the opportunity to work in the education/ interpretation, archives, collections, and visitor services departments all in one internship was exactly the experience I needed to help me see what museum jobs I may want to pursue in the future. 

My work with the education department allowed me to do a lot of what I love the most- research and writing to be shown to the public. I got to write and film three tiny tour videos on pieces of my choosing from our vast art collection that were then posted on the museum’s vimeo. This was such a joy for me, as I learned a lot about different artists, techniques, and styles in the process. I’ve only taken one art history course in college so far, so this was a new and exciting topic for me to get to explore and share with patrons. Similarly, I researched and wrote artist spotlights for the museum’s social media.

Also under the education department, I got to work at family cultural festivals. As someone whose love for history was ignited as a child, I was absolutely thrilled to be involved with teaching children about history, art, and culture. At the mid-Autumn Moon Fest, I was able to share some Chinese artifacts with the kids, and the way that a few kids' eyes lit up when they heard they were able to touch them (with gloves, of course) reminded me of the same wondrous excitement I felt as a child. 

Okay, I’ll admit it, the wondrous excitement is still very much alive in me today. On my first day working with the collections department, I was taken into the vault and shown around. To put it simply; my cheeks hurt from how uncontainable my grin was for the entire tour. Our Registrar, Amy Kelly, was such a joy to work with, and always indulgent of the one thousand questions I had for her every time we met. I’m so thankful for the opportunities she gave me to be amongst and interact with the art and artifacts in the vault. One of my favorite experiences from these 10 weeks was getting to work on taking inventory of the vault. With more delicate items, Amy and I worked together- she would carefully bring the items forward while I marked them off and asked her all about them. This was incredibly educational and exciting. However, one day she sent me into the vault on my own (staying close by in her office in case I needed any assistance) to check off all of the art pieces that are displayed on hanging racks. I got to spend multiple hours walking amongst the incredible collection and searching for each individual piece. There is something so profoundly personal about being alone in a room full of art works that are bursting with life and meaning. Every single piece in the collection was created with individual intention and emotion, its creator spending countless hours crafting it to fulfill their vision. You can never really be alone in a room like that, even if you’re the only breathing being. 

While working in the archives, I was given the exciting opportunity to curate my very own display case and the wonderful freedom to choose my topic. In true history student fashion, I had so much fun pouring over old magazines, newspaper articles, and black and white photographs, that it was difficult for me to narrow myself down to just one topic. Our Archivist, Molly Sauder, was incredibly encouraging of my weeks-long search to find my perfect topic, and always receptive to hearing about all of my ideas. When it came time to actually design my exhibit and prepare my writings, she guided me through the process while still allowing me to make it my own. Seeing my work on display in the same museum as iconic artists and highly experienced staff members is truly an honor.

Of course, a museum is not a museum without its patrons. I loved getting to work in visitor services and sit at the front desk of the OJAC. Being at the front desk means sharing information about the museum, its history, and current exhibits with visitors, but it usually goes beyond that. Patrons often talk to me about their favorite pieces on display, stories of how they used to visit when they were younger, their own experiences with art and artists, etc. These conversations remind me of how every single person who comes into the museum has a different perspective and leaves with individual takeaways. It makes my day when visitors choose to share their perspectives and takeaways with me. 

I’m inexpressibly grateful for the mentorship and opportunities that the staff here at the OJAC has so generously shared with me, and I’m proud of the work that I’ve produced. I will undoubtedly miss my time here, but all of the lessons and experiences will stay with me as I finish my degree and move into my career.

Catherine Shewmaker

Museum Studies Intern Fall 2022

Lot's Wife by Nathanael Neujean

Lot's Wife by Nathanael Neujean

Nathanael Neujean, Lot's Wife, 1968, cast bronze. OJAC Collection, Gift of Bill Bomar. 1981.254

Nathanael Neujean (1923-2018) was a Belgian figurative sculptor, working mainly in plaster and bronze. After studying sculpture at the Academy of Fine Arts in Antwerp, Neujean worked in Brussels and Paris. In 1960 he was awarded the Royal Belgian Academy for Sculpture and went on to teach in Boston, MA. He later divided his time between Brussels and Florence making many commissions and portraits. His works have been exhibited in Belgium, Holland, Italy, the United Kingdom, Canada, and the US.

Neujean’s bronze sculpture of Lot’s Wife was acquired by the OJAC in 1981 through a gift of artist and founder Bill Bomar.

The work captures a pivotal moment in time, revealing the thin line between life and death. Here, the sculptor illustrates the biblical story of an unnamed woman—simply known as Lot’s wife—who suffered a dire consequence when she fled with her family from the depraved city of Sodom. In the account, she disobeyed God’s command not to look back at the city, and was turned into a pillar of salt.

Neujean’s expressive modeling of the figure and the woman’s captivating last gaze convey a somber and anxious mood.

Neujean also offers an intriguing detail often overlooked by viewers. Beneath the figure’s right heel is a tiny scalloped seashell cast in bronze—clearly an act of artistic license, as the term “seashell” is never mentioned in the Bible.

The shell’s placement not only serves to lift the figure’s foot in a stance conveying movement, but could also serve as that nagging little thing that catches your attention and makes you stop in your tracks.

At your next visit to the OJAC, take a moment with this work in our Sculpture Garden, and look closely to discover this to this mysterious, hidden detail.

Amy Kelly

Registrar

The Webb Family in Albany

The Webb Family in Albany

The Webb Family first came to Shackelford County in 1883, with Sam Webb (1855-1927) arriving in Albany just two years after the railroad had connected a terminus in the small, growing town. He purchased a large ranch six miles east of Albany where he lived with his wife and seven children. Partnering with his father, General William Graham Webb, he set up a Real Estate and Insurance business called Webb and Webb. After his father’s death, Sam went into business with Louis Hamilton Hill to become Webb and Hill.

 

Over the years, the business was involved in real estate, insurance, and to a lesser extent, cattle sales. For a short period time in the early years a man named Campbell also joined the enterprise and as lawyers he and Webb offered legal services. Over the course of the next three decades, the business name changed as partners came and went, but Sam Webb remained a mainstay until he retired in his later years.

Within a few years of his retirement Sam’s son, William Graham Webb Sr. (1879-1961), in partnership with his own two sons William Graham Webb Jr. (1901-1977) and Sam Richard Webb (1913-2008) founded a new real estate and insurance firm in 1932. The business’ name once again returned to Webb and Webb.

 

Beyond their business enterprises, the Webb Family were deeply committed to and active in their local community. W.G. Webb Sr. was instrumental in the creation of the Fort Griffin State Park, and it was also through this persistent efforts what the Ledbetter Picket House was moved to Albany and kept intact as an example of frontier living.

 

William Graham Webb Jr. worked on a volunteer basis as a reporter covering local Albany events for the Albany News, the Abilene Reporter-News, and even the Fort Worth Star-Telegram.

 

Sam Richard Webb worked tirelessly for the Fort Griffin Fandangle, the Albany Chamber of Commerce, the local American Legion, the Albany Dance Club and the Albany High School Ex-Students Association. Sam continued to helm the Webb and Webb insurance agency until his retirement in 1990.

 

Their oldest sister, Virginia May Webb (1902-1983), married Albany transplant and oilman Graham Peterson Crutchfield. They were both active in the Fort Griffin Fandangle, with G.P. playing a vital producer role while Virginia was a regular cast member. Both had a love for outdoors activity and hunting, and enjoyed the opportunities for both that Shackelford County provided.

Molly Sauder

Archivist & Librarian

A Gate Which Opened Out

It’s Spooky Season at the OJAC!

Halloween is one of my favorite holidays.

I realize it’s a relatively new one compared to others, and it’s modern iteration has been shaped by many different traditions, beliefs, events and cultural influences. It certainly wasn’t always about candy, trick-or-treating, or parties! But from the very beginning it included costumes and scary stories- and it’s visual imagery included shadow and mystery. Dark corners, winding paths, foggy fields, and spooky structures.

A Gate Which Opened Out, 1944. BILL BOMAR. Oil on canvas. 1982.029

So in search of a collection work that referenced that imagery and vibe- I came across a piece by one of the museums’s founders, Bill Bomar. This is “The Gate Which Opened Out,” an oil painting created in 1944.

To me, the scene of this painting invokes a spooky Halloween night in Texas…when it’s still warm enough outside for plants in bloom, but with nights that are beginning to feel crisp and cool.

It instantly reminded me of “that one house that feels too spooky to approach when you’re out trick-or-treating.” Overgrown, exotic plants. The curved path and stone steps. The mysterious, backlit gate. It seems to both lure the viewer and make them hesitate.

And the style of the work adds even more to that vibe. The surrealism that provides just enough realistic detail, but with an eerie, dreamlike quality that can feel a bit disconcerting.

Now, not much is known about this painting or it’s specific inspiration. Does it reference a real location? Is this a place the artist observed or lived at? Or is it simply an entrance he conjured?

Did the artist desire that the heavy, dark and backlit gate to give such an eerie vibe? Perhaps I read the scene differently than intended. Perhaps he felt the plants, path and glowing light to feel welcoming?

We don’t know much of artist intent. But we do know of his artistic process and style.

Born in 1919, Bill Bomar started painting at the age of seven. His earlier works were purely abstract, but he would later experiment with a variety of styles.

Later in his career he would develop a type of representational surrealism. (As seen in the painting above).

This unique style seems to invoke hazy memories. Images that make the viewer wonder at reality. ‘Does that reference something the artist actually saw or experienced? Or was this something from a dream?’

Adding to the quandary, Bomar’s portraits and landscapes almost always includes recognizable, objects..but they feel unlikely to the scene. At close inspection the viewer may discover arrows, thorns, nails, and locks. Blossoms, thorns, webs, and waves may also be observed. These feel internally placed symbols that may be important to the narrative, but add to the mystery of the work. (How many of these symbols do you find in the painting above?)

I’m curious to know if its other viewers have a similar read of this work. Does this scene invoke a memory for you? Does it remind you of a place you can’t entirely identify, but feels familiar? Does if feel welcoming or ominous? Would you comfortably approach and knock to enter?

For me, this entrance would be a bit too spooky to approach, yet somehow a place from which it would be difficult to walk away.

And I suppose that’s the spooky, charm of it.

Kellie Bellah

Visitor Services Associate