Winter Reading Recs!

If you’re like me, you like to cozy up with some cocoa on these chilly evenings with a good book.

Here are my recommendations for you and your family this season!

Call or click below to purchase your copy, and browse our selections HERE in our online giftshop.

Tatum Green Calhoun, Administrative Assistant and Visitor Services Coordinator

Midcentury Modern Art in Texas

$47.00

Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas.

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Dragons of Romania: Books One, Two & Three

$35.00

The first three in the popular Dragons of Romania series!

Written and Illustrated by OJAC Artists-in-Residence Dan Peeler and Charlie Rose

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What Is Contemporary Art? A Guide For Kids

$18.50

What Is Contemporary Art? opens up the exciting, dynamic and sometimes bewildering world of contemporary art for a young audience, inviting readers to explore, enjoy and question a variety of artworks drawn from the collection of The Museum of Modern Art.

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Photographs: A Window in Time

Photographs provide historians with a window in time. A visual snapshot of one moment, captured forever. These primary sources are an invaluable asset to any museum archive.  

Currently on display in the Robert E. Nail, Jr. Archives gallery is an exhibit featuring photographs and tintypes, titled, “Faces of Fort Griffin”. This visual representation showcases many aspects of life during the late 1800s on the Texas frontier, specifically at Fort Griffin between the years 1867 to 1879.

Too often, spectacular photographs documenting our past history come to us with very little information attached to them. This is when historians and archivists must closely investigate the image for details to make educated inferences of the object and it’s subject.

Often, we seek answers to a set list of questions including:

• What kind of photograph is it? (portrait, action, posed, candid, etc.)

• What historical context might be reflected in the environment surrounding the subject?

• What information can be collected from any figures shown (such as social, chronological or lifestyle indicators found in clothing, hairstyles, poses, etc.)

For an example of this process, the photograph on the left was acquired by our archives with only the information that it reflects two, unidentified cowboys at Fort Griffin.

Other than being able to place it chrononolically due to the dates of Fort activity, we don’t have much else to identify the figures reflected. However, we do know that Fort Griffin was a stopping point for cattle drives heading north. Therefore, a historian could infer that these two young cowboys were not locals of West Texas. They likely found themselves at Fort Griffin on a drive from the north, and decided to have a formal portrait made. Notice the way the clothing and shoes are relatively clean, and the fact that they chose to pose in full gear (gun belt on the cowboy on the left).

Through historical context, we can also make inferences of the socio-economic status of these men. Cowboys at this time were relatively poor and uneducated, and experienced a challenging, tiring quality of life.

The cowboys in this image were not “dudes,” (dressed in a fancy, costumed manner) but rather in a way that was affordable and functional. (Notice the one on the right is wearing a derby type hat, instead of a traditional cowboy hat.)

 Currently, the OJAC archives holds over 3,000 photographs, negatives, and slides in its collection. Many (like the image above) ripe for investigation with little information provided outright- and each with its own story to tell!

Jewellee Kuenstler, THC&P Coordinator

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For Everything a Season

Happy New Year! We welcome 2021 and all that it has in store for us! Last year was a trying one for many. In 2020 we saw change in almost every aspect of our lives - personal, professional, and everything in between. While some of these changes resulted in a positive shift of pace or priority, others drug us “kicking and screaming” into spaces of great discomfort, instability, anxiety, and frustration.

You might have noticed a common theme as many sought to leave 2020 behind us. “A new year, a fresh start and everything will be better this time!” Well, 2021 is not guaranteed to solve all the problems but the rest of it is true. A new beginning feels hopeful. We may be in the dead of winter now, but it won’t be long before spring comes with cleansing showers and growth. Then summer with sunshine and a joyful splash. And after that the crisp air of autumn will offer an opportunity to clear minds and prepare for rest.

Artist Gene Owens reflected on this idea when creating a sculpture series of four porcelain trees, one for each season. He said the winter tree took him the longest to create. He wrestled with how to depict this final season. What should it look or feel like? In conversation with OJAC’s Director and Curator he said,

“Finally in a flash it hit me how I wanted to finish it. Did you notice how feminine it looks? It looks like and feels like the blush on the face of a woman with child. To me winter gives birth to the other three seasons!”

Winter

Spring

Summer

Autumn

Winter Tree, Spring Tree, Summer Tree, Autumn Tree, Gene Owens, 1982, Porcelain, 2009.17, 14, 15, 16

You might be elated at the start of the new year or you might have anxiety for the unknown, either way we look ahead with great anticipation. We can’t know what is to come but we do know there will be many different seasons both up and down and this present moment, the winter season, gives birth to it all.

Molly Gore Merck

Education Coordinator

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Christmas Traditions of the Texas Frontier

The Christmas Season is upon us! (Along with all the modern trappings and trimmings that we feel are a necessary part of the holiday.) But the celebration of this holiday on the early Texas frontier was much more simple. 

In the mid-late 1800’s, the state was sparsely populated, so settlers would take advantage of holidays such as this to travel, gather and socialize (often staying a few days if not longer with their host.)

Trees were as scarce as people on the Texas prairie, so substitutes for a “traditional” Christmas tree might be created from tumbleweeds, mesquite, salt cedar, or  juniper. Often times one “tree” might be placed in a common area in the community- such as the local church- instead of within each home. Decorations might include bits of ribbon, yarn, berries, popcorn, and paper designs. 

Most gifts between friends and family were homemade and practical. 

Just as now, holiday meals were one of the most important aspects of the celebration. In those days before refrigeration, dishes were prepared with whatever food stuffs were local and available. Game meats such as buffalo, deer, turkey, squirrel, rabbit (and, as one cowboy wrote in a letter home- even rattlesnake!) were prepared.  Beef, chicken, and pork might also round out the meat portion of the menu. Sides included cornmeal dishes, preserved summer vegetables and fruits, as well as cakes and pies!

No holiday on the frontier was complete without music played late into the night. Traditional instruments such as fiddles and mouth organs might be used to accompany carols and dance. 

As we celebrate this coming week, it’s both fun and meaningful to compare how the traditions of this holiday have changed and evolved, as well as the permanency of its essence and message. 

Jewellee Kuenstler, THC&P Coordinator

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Forty Years

What a year!!! 2020 has been challenging and overwhelming for most of us.

And while it feels is a difficult moment for celebration- we at the OJAC are taking this week to honor and reflect upon the 40-year history of this outstanding art museum.

As we take stock of the accomplishments of the last four decades, it is easy to feel encouraged, inspired and grateful for the following, (and so much more!):

• A diverse and impressive permanent collection of over 2,400 artworks and artifacts.

• Hundreds of temporary exhibitions, including a Cell Series highlighting dozens of contemporary Texas (or Texas connected) artists.

• Over 17,000 square ft. of gallery, work and vault space.

• 20 years of School Outreach serving thousands of children throughout our region and beyond.

• 40 years of Public and Family programs that have served to connect, educate and entertain our community.

• A dedicated Board of Trustees and Docent Corps who have invested forty years of time, talent and resources.

• And perhaps most notable in this moment of our history- a tradition of creativity, adaptability, resilience, and growth.

This week marking our Ruby Year, we look forward to the continuation of that tradition.

We look forward in anticipation of the next 40.

Happy Birthday Old Jail Art Center – you are one fabulous museum. 

Susan Montgomery, Membership and Development Coordinator

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Clarke Family Christmas

The Clarke Family were early residents of the Albany community, with Archibald A. Clarke arriving to the new county seat with his wife Jennis in November of 1877, the same year the original limestone jail was built. He worked as Albany’s first lawyer, and he and his wife had five children.

Their middle daughter, Ollie E. Clarke would also play a prominent role in Albany history. Originally an area teacher, she later worked at the Albany National Bank for 15 years as an assistant cashier. But her most influential role would come as manager of the Albany Chamber of Commerce, a position she held for over two decades. She took great pride in recording the history of the area, as well as in promoting the community’s advancement through improved infrastructure and increased commerce, as well as supporting the arts.

The Clarke Family Papers is made up mostly of correspondence, and a highlight is the collection of colorful postcards sent from friends and family in the early 1900s. Christmas cards are also numerous and provide an entertaining glimpse into the look, design, and aesthetics of the early to mid 20th century.

Molly Sauder, Archivist and Librarian

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A Keith Vaughan “Like” (Part II of II)

In Part I of this blog, I briefly noted how and why the Old Jail Art Center came to have several works by mid-twentieth century British artists in the collection. The promise of Part II was to tell more about the artist Keith Vaughan and why I “like” his painting Standing Figure.

Keith Vaughan (1912-1977) emerged from the Neo-Romantic painters of the 1940s post-war Britain. This group, much like the Fort Worth Circle of artists, was not an organized movement nor did they follow any type of dogma. Most of these artists had a personal and poetical identification with nature and a shared interest in past Romantic British visionaries. By the 1950s Vaughan would develop his own style by concentrating on the figure integrated with or defined by abstract elements. The landscapes became undefined abstracted shapes creating a stage for the figures' activities. The pigment became thicker, creating rich tactile surfaces. 

Standing Figure portrays a solitary nude male carrying a form draped over his shoulder. The grey form he carries appears to be a lamb or sheep. One could infer any number of biblical stories referencing a man carrying a sheep but there are no confirming clues contained in the image or title. Like many of Vaughan’s works, facial details are non-existent—allowing the figure in space and its actions to be the viewers’ primary focus.

The reason I gravitate to the work is that I enjoy the dark and limited color palette, the confident application of pigment, and the simplicity of forms and composition. More than anything, the painting provides an ambiguous narrative that creates a desire to return to the work over and over again. 

Details about Keith Vaughan’s personal life could be Part III of the blog but I will leave it up to those interested in the artist to pursue information about this intriguing and sometimes-troubled individual. 

Patrick Kelly, Executive Director and Curator

The artist in his studio, 1963, photograph by Jorge Lewinski © Jorge Lewinski

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SHOP OJAC for the Holidays!

Looking for a unique and artful gift for friends and family this season?

The OJAC has a variety of options for all ages!

Order in our online shop, or call to make a purchase over the phone today. 325.762.2269

Questions? Email our Giftshop Staff HERE

Holiday Gift Bundle

Share OJAC memories with our Holiday Gift Bundle! Includes OJAC Catalogue, OJAC Notecards, OJAC Picture Frame, OJAC Playing Cards! ORDER HERE

Museum Membership Bundle

Give the gift of a Museum Membership with this fun OJAC Swag! Includes single museum membership for one year, plus OJAC tote filled with a variety of fun museum swag! ORDER HERE

Genealogy Gift Box

Preserve past holiday’s with our Genealogy Gift Box! Includes 1 Metal Edged Archival Document, 5 Archival File Folders, 5 Mylar 8x10 clear sleeves, 5 Sheets Archival Paper, 1 pair Cotton Gloves, 1 Pigma Archival Pen! ORDER HERE

Holiday Zen Bundle

Give the gift of creativity and calm with our Holiday Zen Bundle! Includes Buddha Jigsaw Puzzle, Lotus incense Burner, Lotus Puzzle Box and Buddha Board ORDER HERE

#StayHomeStudio Subscription Box

Workshop Series Subscription is for one semester (4 workshops + a FREE Holiday Bonus!) and includes:

Monthly workshop videos with step-by-step visuals and instruction by a Museum Educator. Registrants explore a new art process or media each month!

Monthly, complete supply-kits mailed to registrant’s home address. Kit contains all special materials, note of helpful hints and password to view that month’s workshop video! ORDER HERE

Tatum Green, Administrative Assistant and Visitor Services Coordinator

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Table Talk

With over 2,300 works of art in the OJAC's collection, writing about a table may seem like a strange choice. But I have always admired the stately oak table that stands in the center of the museum's library, and I recently discovered that I am not alone. As described by Fort Worth pediatric surgeon Dick Ellis in his book, Cook Middle Years, many who used the unique oval table "developed an uncanny affection for it."

So how did such a beloved table, originally purchased for a Fort Worth hospital, end up in Albany? This table, along with much of the OJAC's signature Italian Renaissance-style furnishings, has an interesting and full circle history.

In 1926, the famed Cook Ranch Oil Field in Shackelford County began producing an oil flow of 1,000 barrels a day. Ranch owner Missouri Matilda (Dude) Nail Cook used those oil riches to finance the construction and endowment for the W.I. Cook Memorial Hospital in Fort Worth as a memorial to her late husband and daughter. When Cook hospital later merged with Fort Worth Children's Medical Center in the 1980s, much of the original furniture was sent to the Old Jail Art Center in honor of Mrs. Cook. Twenty-two items from the hospital were first received on long-term loan in 1986 and gifted to the museum in 1992. 

Photographs from Dr. Ellis' 2010 book record hospital staff seated around the table, volunteers planning the hospital's annual celebrity auction, and even adolescent patients enjoying school lessons around it. In its reincarnation here at the OJAC, it has functioned as a gathering place for staff and board meetings, small receptions, command-central for countless hours of folding, stuffing, and sorting by faithful mail-out committee volunteers, and a quiet respite for study.  

This table serves as a witness to almost a century of advancement and achievement in medicine and art. Within its grains, and time-honored abrasions, it holds a history all its own along with our uncanny affection.

Amy Kelly, Registrar

Oval Table, n.d., oak, 29 in. x 86 in. x 43.25 in. Collection of the Old Jail Art Center, Gift of Cook-Fort Worth Children's Medical Center. 1992.122

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Patolli: Harvest Game of the Aztecs & Maya!

It’s harvest season! And one of my favorite things about this time of year is that it’s a reminder of the connection we have to peoples all over the world and throughout history. It’s one piece of the human experience that has existed for centuries across cultures and continues to exist for many people today.

The Aztecs depended on a good harvest to sustain their culture, economy, their livelihood, and even their social standing in the community.

Who were the Aztecs? They were farmers, warriors, engineers, traders, and artists. They were a rich and powerful people who lived in what is now the southern portion of Mexico. Until the arrival of the Spanish Conquistadors about 500 years ago, the Aztec Empire was one of the largest and most advanced civilizations in Latin American history.

The Aztec people had a game they liked to play during the harvest season. (This was a game also played by the Maya and Toltecs before them!) It was a game of strategy and luck, and a local event that attracted players both common-born, nobility, and everyone in between.

The game was called Patolli. Players of Patolli would meet during the Harvest and bring their wealth and crops with them… to gamble. Interested players would choose an opponent by inspecting the belongings they were betting. Players bet 6 things each, represented by their playing pieces or “counters”. They might bet blankets, precious stones, gold jewelry, food, livestock, or the season’s crop. Betting one’s crops was extremely dangerous because it represented all the money, food, and comfort a man and his family would have for the year. In extreme cases, players would bet more than their crops, they might even bet their homes, family members, or their own personal freedom. Agreeing to play against someone was not done casually. This was a serious decision as the winner of the game would ultimately win all of the opponent’s store of offerings and the loser could walk away with nothing to show for a year’s worth of work and investment.

A Patolli gameboard had 52 spaces arranged in the shape of an “X”. It was often drawn on a piece of leather, on a straw mat, or carved into the floor or table top. Each player had six counters that represented their 6 belongings up for grabs and 5 beans that were used as a type of dice.

Seated Zapotec Corn God, Zapotec, Post Classic (900-1100 A.D.), Ceramic, 1994.037

This is a Pre-Columbian artifact in the Old Jail Art Center’s collection. It’s a sculpture of an Aztec Deity important to the Harvest Season. Look closely at the details. What important crop do you see incorporated in their attire? This deity was important for the harvest because they represented the healthy corn or maize crop. They were also associated with luck, gambling, and games. Any farmer knows that every time a seed is planted it’s a game of chance as to what the year will hold and whether the crops will succeed. Before playing the game of Patolli, the Aztecs would often beseech this figure for luck and prosperity. They were believed to act as an invisible, but very present third player in each game. Note their presence in the illustration below. The Aztecs believed this deity could change the luck of a player and cause him to win or to lose. So don’t dishonor or upset them because you’re gonna want ‘em on your side!

When Spanish priests arrived with the conquistadors they forbade the game of Patolli. Possibly due to the connection with what they believed to be a “false deity” or may it was because some people were actually selling themselves or their families into slavery over it. The priests were even known to have burned the hands of people caught playing the outlawed game.

Today at OJAC, we use this game as a teaching tool and a window into the everyday lives of the Aztec people when teaching Spanish students in our outreach programs. Even the most reluctant student can’t help but get caught up in the aspects of risk and chance and we even have a good time with jokes about betting one’s younger siblings in order to get them out of our hair.

I hope you’ll enjoy the harvest season and maybe give Patolli a try when the family visits over the holidays! Just don’t bet the farm!

Molly Gore Merck, Education Director

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The Art of Repurposing

In our modern, throw-away society, the words reuse, recycle, and repurpose have become a mantra of every-day life.

These ideas encourage us to value an object for more than its original intent/ use. To consider or re-imagine an object in a new or different context before throwing it away. To appreciate the skill that was required to create it.

 Excellent examples of “up-cycling” exist in the historical building where our museum originated.

 Built in 1887 as a county jail, the structure was considered state-of-the-art for its day! It boasted impressively laid limestone, long windows and elegant metal-work.

Although certain features still mark this space as an old jail (iron bars and hanging chains) the building has now been completely repurposed to modern art galleries.

 The first floor no longer houses a jailer and his family, but a rotating exhibition of artifacts from a variety of Asian cultures.

Bright rooms upstairs, which once housed metal cells and frontier criminals, now host a rotation of contemporary Texas artists (many of whom create works inspired by the original use of the space through themes of isolation, the loss of freedom, and the passing of time).

Even the metal cells of the jail would enjoy a new life as the building evolved to an artistic purpose. The detailed lattice-work of the metal was not discarded as rooms were converted to galleries. While it is common for the craftsmanship of a utilitarian, mundane object to go unnoticed- the first director of our museum had an inspired new plan for its use! This lovely lattice was repurposed as a fence surrounding a courtyard of bronze and marble sculpture.

Each day, museum visitors walk and observe this outdoor exhibit with no idea of the history that surrounds them! (Personally, I do quietly enjoy the irony of a space once previously occupied by the “unrefined”..now visited and admired by those seeking a bit of culture and “refinement.”)

 The evolution and story of our old jail building is so eccentric and unique. It allows for many surprises in tour programs, and inspires wonderful dialog about learning from the past to create a more positive and beautiful future!

Jewellee Kuenstler, THC&P Coordinator

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Keith Vaughan “Like” (Part I of II)

When people ask which work of art from the OJAC collection is my favorite, I have difficulty answering the question. There are so many candidates that picking just one seems like an impossible if not futile exercise. But one work that always catches my attention and draws me in is a painting by the British artist Keith Vaughan (1912-1977) titled Standing Figure created in 1953.

You may be wondering, why does an art museum in a small “west” Texas town own a painting by a mid-twentieth century British artist? A similar question could be applied to any number of works in the collection, but this particular work entered the collection through the efforts of founding director Reilly Nail in 1990. Reilly was an “anglophile”—a person who admires or is fond of all things English or British. He went through a phase of collecting modern and some contemporary British works of art. In fact, the OJAC has a small, yet surprising number of works by British artists including Henry Moore, Patrick Heron, Dereck Boshier, Adrian Heath, among others. Few of these artists are likely recognized by most American audiences, but they play a pivotal role in the development of British modern art.

We are often influenced to “like” a work because someone tells us the artist or their work is important. Personally, I was a fan of Vaughan’s Standing Figure even prior to researching him. Yet, as I gained knowledge about his personal life, struggles, and his art, this painting did begin to “read” differently and enhanced my appreciation beyond its more formal aspects that first appealed to me.

With all that said, my positive responses to the work may differ with those of other viewers. Like all works of art, each individual has a unique perspective, interpretation, intangible preference, and conclusive response—normally verbalized with a “like” or “dislike.”

For more specific information as to why I “like” this work, tune in to a forthcoming Part II of the staff blog focusing on Keith Vaughan as an artist and individual as well as his painting Standing Figure.

Patrick Kelly, Executive Director and Curator

Keith Vaughan, Standing Figure, 1953, oil on canvas. Museum purchase, 1990.006.

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The Lotus: A Calming Symbol of Relief and Reflection

As I was organizing the OJAC giftshop this week I noticed the recurring symbol of the Lotus on a few of our items. This led me to thoughts of what this flower represents, and it’s possible connection to this moment in time which we are experiencing. 

I already knew that the traditional meaning of the symbol of the Lotus is one of calm and meditation. When I researched further, I found it is also a symbol for strength and “triumph in transformation.”

As the COVID-19 situation has evolved, many of us have begun living our day to day lives in new ways, with adjustments to change. Regardless of the differences in our lived experience of this, I know we are all navigating challenges and transitions. We are all juggling the stress and anxiety associated with the unknown. This lotus flower seems to me the perfect symbol for what we all need these days. This year seems like a time to embrace any opportunity for relaxation, positivity, and hope. 

Deep, calming breaths, and quiet, calm activities are always a good idea for anxious days. 

I also recommend the opportunity to distract and de-stress with two Lotus-themed objects from our giftshop collection:

• Our Tibetan Lotus Incense Burner is a beautiful, antiqued piece that compliments most home décor styles! Burn your favorite scent inside this lovely bronze flower to create a relaxing environment of any room. 

• Need a quiet, mental break from school or work?  Solve one of our traditional, carved Wooden Lotus Puzzles and enjoy a few minutes of inner peace. (These boxes make a lovely and thoughtful gift for children and adults, alike!)

And lastly, in terms of a mental health break I can personally recommend a visit to the galleries of our historic jail building. There, you will find a quiet, tranquil environment showcasing dozens of intriguing artifacts from a variety of Asian countries.

Tatum Green, Administrative Assistant and Visitor Services Coordinator

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Lotus Puzzle Box

$20.00

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Tibetan Lotus Incense Burner

$25.00

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A Gift Between Friends: Tonkawa Dolls of the SRM Collection

The small, colorful dolls that adorn the wall in the Robert E. Nail Jr. Archives are some of my favorite pieces in the Old Jail Art Center’s collection. These childrens’ toys were crafted and gifted by the Tonkawa to a young child named Sallie Matthews- a member of one of the early frontier families of our region. 

Each time I pass them in the gallery, I cherish the thought of these lovely toys being held and played with by Sallie’s hands.  These Tonkawa artifacts are amazing.  They have weathered time beautifully, still vibrant and colorful with amazing detail. At close inspection you find hundreds of dyed seed beads, painted and tooled leather, and amazingly intricate stitching. Such impressive craftsmanship from this Tonkawa artisan.

As many times as I have seen these dolls, some of the same questions come to mind each time I view them.

They are so beautiful! Were these too fancy for everyday play?

Who actually made these dolls? What was their relationship to Sallie/ how did they know her? 

Were they crafted just for Sallie? A gift? A swap? Was it a special occasion like a birthday?

As a child I loved receiving dolls. I think of all the children in our area from Sallie’s time to my own that have treasured the same experience.  I enjoy thoughts of traditions like these that connect centuries of children in Shackelford County history. 

I encourage you to think back on the best toy you received as a child. Imagine if it was viewed by someone in a historical gallery a hundred years in the future. Would that toy resonate in the same way as these dolls? Speak to the shared, timeless experience of childhood? 

This fall, I hope you make time this fall to visit the museum to discover small treasures such as these in its galleries. 

Susan Montgomery, Membership and Development Coordinator

Tonkawa Dolls, c. 1869, Leather, beads, LX. 027

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The Tiger Wood Piano

Have you ever walked by something many times and not really noticed it? We do this daily on many levels. But sometimes those overlooked objects prove to be the most interesting.

In our Stasney Center for Education sits a large and lovely instrument. This beautiful Fischer piano is in itself a work of art- the beautiful striped tiger wood oak with its blond and light brown marbling closely resembles the markings of an exotic jungle cat. Along its legs are intricate carvings and added accents. It is polished to a high sheen and looks remarkable for it’s century-old age.

Although the piano is beautiful, I have walked by it many times a day without giving it much thought.. until one day I learned more of it’s history.

This piano belonged to Jessie Cook, born in 1877 and the only daughter of W.I. and Missouri Matilda “Dude” Nail Cook. The Cooks were very prosperous merchants and Dude dedicated herself to the education of her daughter. At the age of 15, Jessie was enrolled in the Mary Nash College.

Jessie was very interested in music and loved playing the piano. In the summer of 1894, she left to study at the Boston Conservatory of Music. When Jessie returned to Texas, she met Will B. Head, the County Clerk of Grayson County, and by the spring of 1896, the two had become engaged. Whether it was an early wedding gift or just a way to ensure Jessie did not neglect her playing, Dude ordered a beautiful baby grand piano from J & C Fischer Piano Company in New York and had it delivered to Jessie’s new home in Sherman, Texas. Jessie and Will were married on December 16, 1896. 

The next year, the Cook’s purchased a ranch outside of Albany, Texas. When Jessie became pregnant at the end 1900, Dude was excited to help plan for her new grandchild. In January 1901, Dude left to join her daughter in Sherman to prepare for the arrival of the baby. As Jessie had suffered various ailments during her pregnancy Dude had arranged for a full-time nurse to be with her daughter that summer. 

On July 3rd, in the middle of a hot afternoon, Jessie began to experience labor pains and her mother immediately sent for the doctor. As a respite from the heat and pain, Jessie would play the piano, this particular piano, in between contractions. Around 2:00 a.m. in the morning on July 4, 1901, a piercing scream rang out from Jessie’s bedroom. Dude and Will ran into the room to a horrible sight, Jessie lay dead on the sweat soaked bed as the nurse frantically tried to deliver the baby. She succeeded in bringing the perfectly formed baby boy into the world, but he had unfortunately also passed away.

Dude was heartbroken with grief at the double loss, and had the piano shipped from Sherman to her home on the Albany ranch. This sad event sparked her interest in sponsoring a hospital in Fort Worth specifically for women and children. Her dream was eventually realized by the opening of the Cook Children’s Hospital in January 1929. In the hospital, she had a Memorial Room built that housed her daughter’s precious piano that had brought her peace until her final day.

In 1985, during a major renovation of the hospital, the Trustees of Cook Children’s returned the piano to Albany as a tribute to Missouri Matilda “Dude” Nail Cook and her legacy.

While it isn’t open to be played by visitors, we hope you take a moment to observe this beautiful instrument on your next visit to the museum!

Jewellee Kuenstler, THC&P Coordinator

Photo Credit: J & C Fischer, Grand Piano, n.d., oak, Collection of the Old Jail Art Center, Gift of Cook-Fort Worth Children's Medical Center. 1992.129)

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A Day in the Life

Initially, German artist Julius Bissier (1893-1965) followed the path of New Objectivity (Neue Sachlichkeit), a style that challenged Expressionism by returning to an unsentimental reality and a focus on the objective world. Only a few years later, the New Objectivity artists were condemned by the Nazis as “degenerate,” forced either to flee the country or live as quietly and inconspicuously as possible. During this time, Bissier faced additional challenges. Both of his art studios, along with almost all of his work, were destroyed by fire; teaching opportunities became scarce; and his six-year-old son Uli died.

 Bissier reacted to all this by withdrawing into himself and, from then on, he worked secluded at home, on a small table, and mainly at night. Fueled by an interest in Taoism and Zen Buddhism, he turned to abstract ink paintings, attempting to synthesize spirituality and abstraction. Bissier approached art as an act of meditation.

 Working primarily through a technique of “wash drawing” in black India ink, he used deceptively simple gestures that were simultaneously controlled and spontaneous, in the manner of Chinese monochrome painting. These works would transition to the small airy constellations of vessels, fruit, biomorphic forms, symbols, and abstract explorations of color that would be present in Bissier's work for the next 35 years.

 A beautiful example of Bissier's iconic watercolors, 12.4.61, is currently on view in an installation of OJAC permanent collection works. Measuring only 4 7/8 x 9 1/2 inches, it offers an intimate view of a day in the life of the artist—specifically April 12,1961.

Amy Kelly, Registrar

JULIUS BISSIER, 12.4.61, 1961, watercolor on paper. Collection of the Old Jail Art Center, Gift of Bill Bomar. 1981.012

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Faces of Fort Griffin

The post which became Fort Griffin was established in the summer of 1867 by companies of the 6th Cavalry. The original site was in the bottoms of the Clear Fork of the Brazos River, a few miles downstream from the 1850s site of Camp Cooper. In 1868, however, the post was moved away from the unhealthful bottoms to an adjacent plateau.

The town which grew up below the Fort came into its prime during the late 1870s, when the vast herds of buffalo brought a rush of hunters to the Flat. In addition, the Western Trail, which passed nearby the villages of both Albany and Griffin, brought a heavy traffic of cattle and cowmen along with it.

The soldiers who were stationed at the Fort were for the most part Northerners, but sometimes individuals even hailed from places as diverse as Prussia, the West Indies, Ireland, England, and Germany. Some regiments and soldiers only stayed a few months, while others could remain for several years.

The Tonkawa Indians were a small, formerly nomadic, tribe native to the Texas heartland. Choosing to try and live at peace with the ever-expanding Anglo-American culture, they settled in the shadow of the Fort. For a time they were even enlisted as scouts, frequently accompanying groups of both settlers and soldiers in pursuit of raiding Comanches.

Cowboys, bison hunters, and soldiers alike filled the saloons, gambling halls, and brothels in the town nightly. The rush of trade helped sustain numerous local businesses, including mercantile and grocery shops, hardware stores, hotels and boarding houses, blacksmiths, barbers, butchers, druggists, wheelwrights, and more.

In addition to the more transient individuals who came and went through the Clear Fork area, there were also those who had come to the area to build a more permanent settlement and make their living off the land. These inhabitants were predominantly ranching folk and numerous families established deep roots, remaining in the Clear Fork area and working the land for many generations.

Molly Sauder, Archivist and Librarian

James W. Foley, Sergeant, 4th U.S. Cavalry, with wife Rachel

Edgar S. Foley, born at Fort Griffin in a tent during a winter storm

Elijah Earl, Former Buffalo soldier and later resident of the Flat

Frank Conrad, who became the post trader at Fort Griffin in 1871

Johnson, Tonkawa Chief at Fort Griffin

Rose Ann Cass Gratts, married Lawson Gratts in Fort Griffin in 1877

Cowboys at Fort Griffin

Mary Clifton, Lottie Durgan, Millie Clifton

John Larn, Shackelford County Sheriff 1876-77

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Harvest Holidays: The Mid-Autumn Moon Fest, China

In West Texas we’re beginning to feel a slight drop in temperature as one of the markers for the autumn season heading our way. Many are beginning to look forward to the holidays and all the goodness that accompanies this special season and the refresh it brings. But Texans and Americans aren’t the only ones currently in preparation for upcoming holidays.

The Mid-Autumn Festival or the Moon Festival is a thanksgiving holiday for many people in the country of China. The Moon Festival is celebrated by families in China as a time to give thanks for a good year and to come together with their loved ones. It’s one of the most important holidays of the year in Chinese culture.

It’s celebrated on the fifteenth day of the eighth lunar month which means that it does not always fall on the same date in the solar calendar but is always between mid-September and mid-October. In 2020, the festival will be celebrated on October 1st.

The holiday began, much like American Thanksgiving, as a harvest festival. It marked the time when farmers had finished gathering their crops and would come together with their families to celebrate a successful year.

Still today, even if they live far away from one another, families come together on this holiday. They have picnics outside under the moon and lantern-light, and enjoy special foods.

Most traditions of the Mid-Autumn Festival center around the symbol of the moon. On the night of the festival the moon is bright and full in the sky. The Moon is reflected and depicted in every aspect of the festivities. From the bright, round and spherical lanterns hanging near buildings and on tree limbs to the round and golden “mooncake” treats, participants are reminded of the legendary origins of the tradition. To the Chinese, the roundness of the moon symbolizes harmony and its fullness symbolizes wholeness, so families come together to celebrate those two virtues.

Like many western holidays, the festival is steeped in folk-lore and ancient tradition. One important folktale in Chinese culture tells the story explaining the shape of the rabbit that many people see on the moon’s surface. For this reason, the moon is also an important symbol for this holiday as the rabbit in this story exemplified great determination, hard work, and selflessness.

Moon-shaped fruits like pomelos, grapes, and Asian pears are enjoyed as well as round cups of tea. The peel of the pomelo can also double as a party hat for little ones and pets!

Kids are allowed to stay up late and parade with lanterns in the moonlight. Adults sometimes read or recite moon-inspired poems, and everyone in the family sends a secret, unspoken wish up to the moon.

This is a lantern in the OJAC collection which depicts the festivities of the Mid-Autumn Moon festival. It’s not the type of lantern that can be hung on a tree branch outdoors but rather one that sits safely on a table and glows when a candle is placed inside. It’s made of fine porcelain, sometimes known as fine “china” for its origin and the country’s early proficiency in the material. Can you see the ornate and delicate hand-painted details? The figures carry instruments and lanterns as they walk joyfully in Mid-Autumn parade.

Lantern with Pedestal Stand, “One Hundred Boys” motif, Early 19th Century
Chinese, Qing Dynasty
Porcelain with overglaze enamels
1993.067.01

As we approach the date of this special holiday, we will miss celebrating in person with a family festival this year. We do, however, look forward to celebrating with students, teachers, and families through our virtual outreach programs and are already preparing supplies and crafts to send out far and wide as we share our enthusiasm for the Mid-Autumn Moon Festival and all it represents!

Molly Gore Merck, Education Coordinator

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Homage to an Immigrant

If you know your history related to the Nazi party that was active in Germany from the 1920s to 1945, you are well aware that they suppressed and eliminated individuals and groups. Their tactics included harassment, intimidation, revenge, strong-armed diplomacy, propaganda, murder, and genocide just to name a few. 

Part of their maniacal “all-things German” obsession was the belief that modern art of the time, as well as the artists who produced it, was un-German and “degenerate.” Hitler and the Nazis endorsed only art forms that promoted the virtues, morals and purity of the Aryan race. This usually manifested itself in the classical style of art (uncontaminated by Jewish influences), 19th century German realistic genre paintings, and a handful of Old Masters.  

The Bauhaus art school that operated in three German cities in the 1920s and 30s was quickly in the Nazis’ sites to eliminate. Bauhaus developed avant-garde approaches to making art as well as efficient and beautiful design coupled with mass production. One could go on and on about the architects and visual artists that taught and studied there as well as the influence they had on 20th and 21st century art, design, and architecture. The faculty and students included many of the who’s who of the western creative world including Paul Klee, Wassily Kandinsky, Walter Gropius, Oscar Schlemmer, Lyonel Feininger, and Josef Albers. In 1933, the Nazis succeeded in closing the final Bauhaus school claiming the school was the center of Communist ideology. 

Due to the dire circumstances, many of Germany’s greatest intellectuals and artists immigrated to other countries prior to WWII, including artists and educators Josef and Anni Albers. In 1933 Josef was invited to join the staff of Black Mountain College in North Carolina—another art school that had unorthodox (now normal) means of educating. Black Mountain staff and faculty included some of the United States’ most creative individuals including Willem and Elaine de Kooning, Robert Rauschenberg, Jacob Lawrence, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Ben Shahn, Ruth Asawa, Franz Kline, Arthur Penn, Buckminster Fuller, and many others who have made such a significant impact on the world. Even now, decades after its closing in 1957, the powerful influence of Black Mountain College continues to reverberate. (Incidentally, this school too came under scrutiny by another powerful government agency led by none other than J. Edgar Hoover, which likely expedited the avant-garde school’s closure in 1957.) 

Both Josef and Anni continued their prolific artistic paths in the United States. Josef developed his color theories and his Homage to the Square series of paintings and prints which is represented in the OJAC collection. The museum’s volume of Interactions of Color, originally printed in 1963 during his tenure at Yale University, represents decades of research and experimentation on the part of Josef Albers and still is one of most valuable sources of color theory available.   

Patrick Kelly, Executive Director and Curator

Day and Night VII, 1963 JOSEF ALBERS Serigraph on paper Gift of Bill Bomar 1985.032

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HERstory: OJAC Staff Female Artist Faves!

In celebration of HERstory week, some of our OJAC staff are sharing their favorite female artists from the museum collection. Enjoy!

Pat Kelly; Executive Director and Curator
Helen Altman- Even thought there are many other female artists in the collection who could qualify as my “favorite.”  I have admired Altman’s work over the years in that it is always evolving and changing. Yet, constant and subtle motifs and concepts flow through all her series.  

Molly Sauder; Archivist and Librarian
Evaline Sellors- A role model and artistic instructor for many emerging Fort Worth artists of the 1940s and beyond, her own body of work contains many sensitive representations of people and animals that I love.

Amy Kelly; Registrar
Agnes Martin- I enjoy the tension between perfection and imperfection in her work. I love looking at her work and thinking about something she once said, “From music, people accept pure emotion. From art, they demand explanation.”

Jewellee Kuenstler; Texas History Programming & Curriculum Coordinator
Alice Reynolds- I love her colorful depiction of moments in our local history. She makes the scene come alive as she captures the people, their clothing, and their actions that are forever recorded at that moment in time. From a historian’s view, it brings a fresh perspective to a past event. 

Molly Merck; Educational Programming Coordinator
Lia Cuilty- I find beauty in simplicity. I love the stark, black and white, prints she made, drawing your attention to the delicate and tiny details. I’ve enjoyed learning about her family ties to Mexico and how her etchings and artworks were a visual reminder of her childhood memories of home. 

Susan Montgomery; Membership and Development Coordinator
Helen Altman- I love the fact she takes ordinary, everyday objects and sees the potential to create from their existence. The commonplace materials that Altman chooses to create her masterpieces are fascinating. 

Hannah Rankin; School Outreach Instructor
Cynthia Brandts- What I love most about Cynthia Brandts is how her surroundings inspired her artwork. As a Texas native as well, her work reminds me of home and the views that we share.

Erin Whitmore; Education Director
Louise Nevelson- As a child I learned of her immigrant story and the influence of her family and culture in her sculpture. I love the variety of her media and the power of her monotone palette.

Molly Gore Merck, Education Coordinator

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