Rule of Thumb

Rule of Thumb

At the age of 16, Doris Porter (Caesar) was dividing her time between mornings at the proper Spence School for girls and afternoons in the bohemian atmosphere of the Art Students League in New York City. It was there that she participated in liberated discussions of art and politics energized by the Ash Can movement, best known for portrayals of daily life in the poorer neighborhoods of NYC. 

At the age of 21, Caesar married and put her career on hold to raise three children. Twelve years later, she slowly began to re-emerge as a sculptor. During this time, Caesar studied under Alexander Archipenko, the pioneering cubist who had recently arrived from Paris. In 1927, Caesar cast her first bronze sculpture and took it to Erhard Weyhe, a champion of emerging artists who ran a combined bookstore-art gallery in New York. This visit proved to be the beginning of a long relationship that resulted in a series of solo shows beginning in 1935. 

Caesar’s development was very much affected by Weyhe, who was an enthusiast of German expressionist art. Early on, Caesar intuitively turned away from modeled classical forms and developed a personal style characterized by expressionist distortion. She purposefully exaggerated the sinewy forms of the female figure and left evidence of her unsmoothed thumb marks as a textural element in the finished bronzes. 

Caesar enjoyed a successful and prolific career. Most notably, 40 of her sculptures were exhibited in a four-person show titled Four American Expressionists at the Whitney Museum of American Art in 1959.

Amy Kelly

Kneeling Woman, c. 1955. DORIS CAESAR. Bronze. 1992.105

Kneeling Woman, c. 1955. DORIS CAESAR. Bronze. 1992.105

National Lighthouse Day

National Lighthouse Day

Fog Bell, n.d. STOW WENGENROTH. Lithograph on paper. 1985.028

Fog Bell, n.d. STOW WENGENROTH. Lithograph on paper. 1985.028

A favorite piece of mine in the OJAC’s permanent collection is Fog Bell by artist Stow Wengenroth.  

This beautiful lithograph depicts a fog bell in the foreground, and a stately lighthouse in the foggy distance. 

Lighthouses are beacons- or guides. The light of their lanterns and sound of their bells alerts ships at sea that the coast is near. They stand as symbols of hope and security. 

This coming Sunday, August 7th- is National Lighthouse Day. And to celebrate, I have some fun facts for you!

Did you know?

  • The oldest existing lighthouse in the world is in Spain, and dates from ca. 20 B.C. It is called the Tower of Hercules, and is still functional! (see image in banner above)

  • Nearly as old, a Roman lighthouse from 40 A.D. is located on the Cliffs of Dover in the UK

  • The first lighthouse in the United States was constructed in Boston, MA on Little Brewster Island in 1716. 

  • The United States has more lighthouses than any other country!

Speaking of guides, if you would like to explore this and other wonderful works in our permanent collection, I recommend our online collection kiosk!

Visit the Collections page of our website for the link, and discover over 2,300 works of art created throughout the world, from antiquity to present.

Susan Montgomery, Membership Coordinator

Reynolds Presbyterian Academy and Orphanage

Reynolds Presbyterian Academy and Orphanage

In the late 1890s the school facilities in the Shackelford county area were very meager. In response to the need, a group of local ranchmen, including G.T. Reynolds, W.D. Reynolds, and Judge J.A. Matthews, came together in order to find a way to bring adequate education to their children. It was decided that an academy should be constructed, so an architect was hired, with work beginning soon after.

The brick school building was built in Albany on the hill overlooking the town, near where the water tower stands now. Work was completed in January 1899, and that semester the Reynolds Presbyterian Academy, which was named for Mr. B.D. Reynolds, was opened. The building had three stories, including a basement; and in addition to classrooms the building also contained space for a chapel, library, music room, art room, office space, and several recitation rooms.

In 1907 the academy officially became a college, with courses such as English, Mathematics, Physics, Latin, German, History, and Music available to all students. Unfortunately, after only a few years the college was forced to discontinue due to the low number of students attending.

The main school building and dormitory remained vacant until 1916, when the elders of the Presbyterian Church decided to use the structures for a new orphan’s home. The name was only slightly changed, and the home became known as the Reynolds Presbyterian Orphanage. The first occupants were three sisters from Baird whose mother had died the night before. Within three years the number of children living in the home had increased to 120.

The Orphanage was moved to Dallas in 1923 where it remained under the same name until 1960, when it again relocated, this time to Waxahachie, where it was renamed the United Presbyterian Homes. Of the buildings that remained in Albany, three wooden structures were sold and moved from the property, while the main brick building was torn down and the rock and brick sold.

Molly Sauder, Archivist & Librarian

Faces of (west) Texas

Faces of (west) Texas

This summer, don’t miss our current special exhibit of photography by Michael O’Brien.

In the summers of 2002-2003, the Austin-based artist photographed portraits of the local cast and crew of the Fort Griffin Fandangle, an outdoor musical tradition in Albany, Texas since June 1938.

Visit to view the faces of this tradition, then explore more of OBriens portraits through The Face of Texas, available now through the OJAC giftshop.

Purchase your copy today!

[10% discount for Museum members]

Tatum Calhoun, Administrative Assistant and Visitor Services Coordinator

Seen any Good Westerns Recently?

Seen any Good Westerns Recently?

I often attempt to connect art to an event, place, subject, etc. that we universally experience when creating my OJAC blogs. For this blog iteration, I considered writing about the OJAC’s current exhibit Borrowed Trouble featuring the work of artist Linda Blackburn whose paintings incorporate appropriated imagery from Western movie stills. (When you come see the exhibit, pick up a gallery guide and find out why!) As one idea led to another, I thought, “how about talking about the Western genre in film/television as well.” When asked to provide an image for the blog, I came across one that depicts the filming of The Searchers, wonderfully directed by John Ford in 1956. If you have not seen this movie, you must, if you want to be considered a movie fan or even a true Texan in my opinion. 

As I went deeper down the rabbit hole of discovery, I realized that The Searchers storyline is connected to another exhibit currently on view this summer—Michael O’Brien’s Prairieland Portraits. I considered writing the blog telling readers the connections. But I’ve elected to provide the answer in my next blog. Until then, the first person (non-staff) who can provide the connections between one of Linda Blackburn’s paintings, The Searchers, and the subject of one of Michael O’Brien’s photographs, will win a copy of Michael O’Brien’s fantastic book The Face of Texas from the OJAC gift shop. This is a “Six Degrees of Kevin Bacon” game. If you’re not sure what this is, look it up. 

This is going to take some thinking. Drop off your guess, or let me know in person—I’ll be waiting! 

 

Patrick Kelly, Director & Curator of Exhibitions

Searchers (1956).jpg

A Summer Internship @ OJAC!

A Summer Internship @ OJAC!

Art has influenced nearly every part of my life, from my mom’s first museum job in a small West Texas town, to my time as an OJAC Jr. Docent, and my decision to major in Art History. When I started my search for a summer job my mind immediately went to the OJAC - I was thrilled to discover the museum offered an undergraduate internship. Despite growing up with the Old Jail, nothing could have prepared me for the wonderful experience of working behind the scenes with the talented and dedicated museum staff.

On my first day of the internship, I learned I would be curating my own mini exhibition with the archive department. It took a minute or two for this information to sink in – I couldn’t believe there would be an entire case for me to research and design. The hours working in the archives flew by as I chose my topic and searched through the files for photos, documents, and letters.

Although I wasn’t quite sure what to expect next, I assumed my time with the education department would be similar to my work as a Jr. Docent; I was surprised to discover I would have a wide range of tasks, including artist research for social media posts and the chance to film my own OJAC tiny-tour! But perhaps the most rewarding of these jobs was reorganizing an entire drawer of lesson plans.

One of my favorite parts of the internship was how hands-on I was with the museum collection, especially as I worked with the registrar department. Cleaning and waxing the outdoor sculptures, documenting exhibits, and helping with the installation of new shows were just a few of the projects I completed. I was struck by the detail that went into the care of the museum collection and the immense amount of planning put into each exhibit on the part of the registrar.

During my time as the Museum Studies intern I experienced an entirely different side of the OJAC. I had the chance to spend time with the museum’s permanent collection as well as the work of guest artists, and throughout the internship I noticed the staff’s passion for their work and their dedication to serving the Albany community. I’ve learned so much these past few weeks and I will always remember my time working at the OJAC.

Mary Ellis Ferguson, Museum Studies Intern

Celebrating the Great Outdoors through Art

Celebrating the Great Outdoors through Art

The summer sun and warmer temperatures have made their arrival! Are you planning your beach vacation yet?

Co-founder of the Old Jail Art Center and artist Bill Bomar captured a delightful day at the beach in the oil painting below.  Can you feel the sand, smell the salt in the air, and imagine the sun shining on your face?

National Great Outdoors Month is the perfect time for you to get out and enjoy yourself! Spending quality time outdoors is not only an important part of a healthy lifestyle, but is a fun and inexpensive way for your family to learn and explore together.

This awareness-month aims to encourage more people to get out and enjoy the world around them, whether by exercising, taking part in volunteer programs, or just taking walks around the neighborhood. The great outdoors has so much to offer- so why not get out there and and take advantage?

…And to conclude your outing, why not drop by the museum and continue your enjoyment of natural views from both near and far? Our collection reflects a variety of land and seascapes from around the world!

As always, admission is free at the OJAC- and we look forward to your visit!

Susan Montgomery, Membership and Development Coordinator

Beach, 1934. BILL BOMAR. Oil on Board. 1993.034

Beach, 1934. BILL BOMAR. Oil on Board. 1993.034

Fandangle Critters: Adding Atmosphere to the Musical

Fandangle Critters: Adding Atmosphere to the Musical

Since 1938, Robert Nail’s Fort Griffin Fandangle has delighted audiences with a historical memoir of the settlement of Shackelford County, particularly around the Fort Griffin military outpost. This musical recreates historical events faced by those early pioneers.

Actors portray people that would have been encountered on the streets of the wild, frontier town of Fort Griffin. Yet, there are other actors whose parts are often overlooked, but are just as critical to the performance. These are the “critters” that lived on the frontier prairie long before the arrival of the white man. In the performance, these animals are played by young children from the community, carrying on a very long local tradition.

Lots of photography documentation can be found of the characters from the play in full costume, but not many photographs show the actors dressed up as animals. However, one such photograph can be found in the Robert E. Nail, Jr. Archives at the OJAC. This moment, forever captured, shows seventeen children dressed as a variety of local fauna, such as deer, roadrunners, buffalo, hawks, skunks, rabbits, opossum, squirrels, armadillos, and raccoons. These represent only a handful of animals that have graced the stage of the Fandangle. This background talent is important to give the right atmosphere to life on the frontier.

Currently on display at the OJAC is Michael O’Brien’s exhibit, Prairieland Portraits. Among the photographs of Fandangle costumed actors are three “critters” including a raccoon, a prairie dog and an eagle. Nail’s foresight to include these background actors to his play not only made it well-rounded and more authentic, but has provided countless children with memories of participating in their community’s gift to the world, the Fort Griffin Fandangle!

Join us on Saturday, June 25 from 12-3 as the OJAC host the Fandangle Family Festival - Critter Corral. During this celebration of these animals, there will be crafts, activities, and food - all free to the public. Hope to see you there!

Jewellee Kuenstler, THC&P Coordinator

Welcome Back, Fandangle!

Welcome Back, Fandangle!

The Fort Griffin Fandangle began in 1938 as a play entitled Dr. Shackelford's Paradise and was first performed that spring by the seniors of Albany High School. Penned and directed by Robert E. Nail, Jr., for whom the Archives is named, the play was a dramatic account of the history of Shackelford County.

Dr. Shakelford’s Paradise was very well received, and was performed again later that summer, this time with involvement from the entire community. Renamed the Fort Griffin Fandangle, the show was a marked success and plans were made to make the Fandangle an annual event. Originally “born of a vague urge to do something a little larger than the usual home talent production,” the show has since taken on a life of its own, growing and changing each and every year.

Nail explained it best when he wrote:

“In the beginning it was meant to be a fairly serious spectacle, another pageant based on local history.  It was, to use a cattlerange expression, ‘loose-herded’ as it grew, and as often occurs in the creative process, it became not what was originally intended but something much better.  Somehow the spirit of the men who made local history - their cocky individualism, their hard humor, their skeptical attitudes - kept intruding and turned bland pageantry into light-hearted satire.”

After a year of rest due to the worldwide pandemic in 2020, the Fandangle returns this summer with renewed excitement and energy!

Molly Sauder, Archivist and Librarian

A Virtual Who's Who

A Virtual Who's Who

I recently found myself asking the question, who is Mrs. Yates?

 To begin, she is the subject of a small ink sketch purchased by the OJAC in 1982. Mrs. Yates as the Tragic Muse was drawn by George Romney, an 18th century British society portrait painter. Shown in neo-classical dress, this image of Mrs. Yates is most likely a page from one of Romney's sketchbooks. The faint lines of two other figures drawn on the back of the page show through the thin paper.

 Mrs. Yates (aka Mary Ann Graham Yates, 1728–1787) was a well-known actress in British theatre. The daughter of William and Mary Graham, she married the English comic actor, Richard Yates, sometime around 1756. Over the latter half of the 18th century, Mary Ann Yates would become the leading tragic actress of the English stage. At the time of this portrait sketch, she was nearly 20 years into her acting career. Mary Ann Yates was well known for her roles as Shakespearian heroines, but here she is depicted as the Greek Muse of Tragedy. 

 My 21st-century-self struggled with the fact that she is identified as "Mrs." Yates rather than by her full given name. However, the title of Mrs., pronounced “mistress,” was for centuries applied to all adult women of higher social status, whether married or not. This understanding of the term (which was how it was used in the 18th century), makes it clear that ‘Mrs.’ was more likely to indicate a businesswoman than a married woman—or in this case, both.

 Amy Kelly, Registrar

GEORGE ROMNEY, Mrs. Yates as the Tragic Muse, c. 1771, Ink on paper, OJAC Collection, Museum purchase. 1982.011  

GEORGE ROMNEY, Mrs. Yates as the Tragic Muse, c. 1771, Ink on paper, OJAC Collection, Museum purchase. 1982.011


 

Growing Up at OJAC

Growing Up at OJAC

            My name is Sidney Bartee and I’m on Teen Council at the Old Jail Art Center. I have been a part of the program for four years now, but I’ve been visiting the museum since I was a child.

            I was around five years old when Mom first started taking me to Family Festivals and registered me to attend summer art camps. I remember the joy I felt while attending the camps and began to learn about different art types and the history behind them. We still have some of the art projects I made in boxes and on shelves at home!

           Once I got to middle school, life became more busy and I couldn’t be around the museum as much. During eighth grade, I met a fellow band member at school who volunteered at the Old Jail and suggested I join her weekly on Teen Council. I started working one hour each week on Wednesday afternoons preparing art supplies and soon felt right back at home after being away for so long. While we would work on projects, someone would always say something to make everyone laugh.

            After my sophomore year of high school I graduated to a paid internship in the Education Department. During the last two years I have worked to prepare supplies for Art-to-Go student outreach, helped man booths and activities at quarterly Family Festivals, and since the pandemic started I’ve helped prepare art kits for contact-free pick-up in front of the museum. Though at times the work can be tough, I’ve enjoyed it. I love helping to create the projects that I once loved as a kid for the next generation. By participating in events and Slow Art Day presentations I slowly learned how to come out of my shell and interact more openly with others. Being at the Old Jail has given me some of the best memories from my high school years and surrounded me with good people I can aspire to be like. Being a part of the Teen Council program is something I encourage every student do at some point in their school career!

Sidney Bartee, OJAC Teen Council

Our Witness Tree: the OJAC Mesquite

Our Witness Tree: the OJAC Mesquite

Often times when we think of a historic landmark, we are imagining a building or structure. Today I wanted to share a special marker that is a bit more… natural.

Recently, while researching historical photographs of our original jail building, I noticed something that most had in common besides the rectangular stone facade. Though these photographs reflected over 100 years of change- one thing remained the same: a solitary tree.

And not just any tree. Not a strategically planted landscaping tree to enhance our entrance.
Not a stately oak tree that provides shade to our visitors.
But a West Texas, tough-as-nails, ‘couldn’t kill it if you tried,’ mesquite tree.

As early as the 1940’s and possibly earlier, the mesquite tree that stands to the right of the Old Jail has become a “witness tree” to our history.

 [Ever heard of the term ‘witness tree?’ These are flora of historic landscapes that remain in place for decades or centuries. Often they grew naturally in a spot- not planted by man or intended to serve a specific or historic purpose. But trees that grew and evolved into massive, silent sentinels. Natural markers of moments and meaning.]

 Ours has stood witness for so long, its trunk is actually growing around a fence! Its gnarled, rough bark certainly gives testament to its age. The things it must have seen… If trees could talk, I honestly wonder what stories this plant would share.

Witnessing it’s days as a county jail - to it’s purchase as a creative space for a gifted writer- and finally becoming a home for fine-art and artifacts from around the world -- this mesquite has accompanied a simple rock building through so many seasons.

 So, the next time you visit the museum- please do take a moment to admire our unique stone facade. But pay respect as well, to this beloved and elderly sentinel.

A tested, steadfast symbol that stands tribute to the grit, resourcefulness, and growth of our community.

Jewellee Kuenstler, THC&P Coordinator

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AAPI Heritage: Pali Manuscripts

AAPI Heritage: Pali Manuscripts

May is Asian American & Pacific Islander Heritage Month and with a collection like OJAC’s we can’t help but celebrate! One South Asian piece we love to share with visitors of all ages is our Pali Manuscript.

This artifact is from Myanmar, an old country with a new name. It used to be called Burma. Myanmar is known for fishing, agriculture, ancient traditions, and artisans. The country itself is almost the exact same size as the state of Texas!

A MANUscript, by definition, is something written by hand. Ours is written in an ancient Burmese language called Pali (pronounced pah-lee) native to countries like Myanmar, Thailand, and Cambodia. There are very few people left in the world who speak this language and only a few more who can translate it.

The hand-penned bamboo pages are protected by a long, exterior shell encrusted with gold, jewels, glass, and stone. Once opened, the pages extend out in an accordion fold as opposed to turning like a book. At over 200 pages and over 200 years old this artifact is a prized part of the OJAC collection.

Molly Gore Merck, Education Director

Buddhist Pali manuscript, 19th century. Burmese. Ink on paper; gilt and lacquered wood with stone and glass inlay. 1981.326

National Wildflower Week

National Wildflower Week

Did you know its National Wildflower Week?

Celebrate this colorful season with these fun offerings from the OJAC gift shop!

  • Gather with family or friends for a night in and enjoy the vivid ‘wilds’ of West Texas with Billy Hassell’s “In the Caprock Country” 1000-piece jigsaw puzzle.

  • Whether for a special occasion or everyday use, make an impression with the vibrant scenes in the “Billy Hassell In the Wild” boxed notecard assortment!

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

Don’t forget to add a plantable wildflower seed coaster before you checkout!

Tatum Green Calhoun, Administrative Assistant and Visitor Services Coordinator



OJAC Plantable Wildflower Seed Coasters
OJAC Plantable Wildflower Seed Coasters
$3.00

Use these coasters at your next gathering, and then plant them for a beautiful wildflower garden!

Coasters are embedded with wildflower seeds. Plant under a thin layer of soil and water daily until seedlings are well-established. Germination time is 1-3 weeks.

Cynthia Brants (1924-2006)

Cynthia Brants (1924-2006)

As a young child, Cynthia Brants was interested in drawing and painting, persuading her parents to enroll her in Saturday classes at the Fort Worth School of Fine Art at about age ten. There, under the tutelage and encouragement of Blanche McVeigh and others (Sallie Gillespie, Evaline Sellors, Wade Jolly, and Sallie Blyth Mummert), she was exposed to drawing in charcoal and pencil, painting in watercolor and oils, and printmaking, an art medium she continued to perfect until her death.

Brants attended Sarah Lawrence College, located just outside New York City, from 1941-1945. She had the unique opportunity to study with Kurt Roesch, a working painter and former master in the Berlin Academy. Following graduation from Sarah Lawrence and the end of World War II, Brants traveled extensively in Europe, absorbing and cultivating her love of the arts.  She also established her first studio in Fort Worth.  Some of her fellow classmates in the childhood Saturday classes—Bill Bomar, Bror Utter, and Veronica Helfensteller—also pursued careers in art.  In the 1940s and 50s they, along with Brants and other artists, came to be known as The Fort Worth Circle. 

In 1979, Brants relocated permanently to Granbury, Texas, establishing a working studio and assisting singer and actress Jo Ann Miller as scenic designer and painter in the renovation and rebirth of The Granbury Opera House.  From the late 1950s until the early 1970s, Brants also taught—at her alma mater, Sarah Lawrence College, and, closer to home, at Texas Woman’s University in Denton, Texas.  From 1960 to 1972 she painted a number of commissioned portraits in Connecticut, Texas, and Maine, which led to her being  presented to Her Majesty, the Queen Mother, at the presentation of Brants’s commissioned portrait of Lady Reading to the Women’s Royal Voluntary Service in London in 1972.

With few exceptions, Cynthia Brants sketched, drew, painted, sculpted or did print- or set-making each day of her life for sixty plus years. Her personal papers, housed here in the Robert E. Nail Jr. Archives, are just as extensive, including documents, photographs, exhibitions catalogs, correspondence, personal journals, and more.

Molly Sauder, Archivist and Librarian

Spring Cleaning: an Archival Photography Project

Spring Cleaning: an Archival Photography Project

Spring is here! And with it comes longer days, rain-showers, colorful flowers, and yes, that all important task of 'spring cleaning'! Whether it is decluttering your house, cleaning out closets, or filing last year's photographs, spring is considered a time of renewal. The same concept is often true of our work here at the museum each time this season rolls around. 

This month, I’ve been privileged to work with our wonderful archivist, Molly Sauder to “refresh” an inventory database of historic photography.

The Robert E. Nail, Jr. Archives houses a photography collection that reflects the history and heritage of our area. This collection includes over 3,000 images, of which only around a third have already been individually cataloged. (The rest are currently grouped only by subject.) 

Of course, our ultimate archival goal is to catalog this collection in its entirety- because doing so is essential to the research, preservation and accessibility of these artifacts! 

But before we could begin our work towards this goal, some 'spring cleaning' needed to take place! 

To Do List:

Step #1

As collections grow and change over time, new archival standards are developed in our profession. Sometimes these changes include an update of inventory database software or its structure. 

Our most time-consuming step of this project was to re-evaluate some of the previous categories, descriptions and keywords in our database that are used to identify our photographs. Although this required significant time and forethought, this organization will ensure the accessibility of the collection. (A researcher visiting our archives will have an easier time locating images of interest to them.) 

Step #2

Just as items can be accidentally misplaced in your home, the inventory of the archival photography needs to be periodically reviewed. Our next job was to ensure that all the photographs of the collection were accounted for. This is a public archive- utilized by visiting researchers and then re-filed, so sometimes items can become misfiled. (They were all accounted for, by the way! *Whew*)

Step #3

This process is a timely moment to add new information/ context we may have discovered about the photograph since our last inventory. This could include new info about the content of the image (a subject, location or event) or info about the object itself (the provenance, creation process of the photograph, etc.)

Step #4

Once the above tasks have been completed, we will be prepared to move forward individually cataloging the rest of our photography collection.

This spring project has been such a fun opportunity to become more acquainted with the treasures of this collection. As we work, I’m reminded of the feeling of tending a garden- clearing, cleaning and planning- to ensure that our collection grows in health and scale for the benefit of future generations in our community. 

Jewellee Kuenstler, THC&P Coordinator

OJAC Haiku Contest!

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OJAC Haiku Contest!

Did you know that April is National Poetry Month?

To celebrate, a few of our museum staff have composed haiku- inspired by the beautiful Japanese art form and the museum that we love.

Please enjoy our modest literary efforts, then leave us one of your own using the form at the bottom of this page! We will take entries through the month of April, then museum staff will vote on a winner to be mailed our prize!

We can’t wait to read your poems describing your thoughts, feelings or impressions of the OJAC.

Erin Whitmore, Education Director

Unexpected find.

A west Texas Oasis

of art and culture

*

Through another’s lens

We see visions by others

In a mark, a stroke

*

Seek inspiration

amid oil, wind, and cattle

Art is essential

*

Cells repurposed to

inspire Creativity;

Art for All of us 

Our museum is a

way to see the whole world from

your west Texas home

*

Preserving unique

community history

through the Nail Archives

*

Diverse Collections

‘doing time’ at an Old Jail

wait for your visit

*

Each week we welcome

visitors from near and far;

Always worth the trip

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A Museum Studies Internship at the OJAC

A Museum Studies Internship at the OJAC

Taking inventory in the art vault, tearing down and putting up new exhibits, curating my own mini-exhibition, researching artists from the collection, while these may sound like the responsibilities of a seasoned museum professional, these are all opportunities I’ve had during my time as a Museum Studies intern this semester at the OJAC. Does that surprise you? Me too. 


I can safely say this internship has surprised me at every turn. The collection here is impressive, to put it mildly. It took me several weeks to take it all in, sneaking an extra lap in each gallery on my way to the bathroom. One of my go-to stops has been Vernon Fischer’s Aardvark in the Reading Room. I love its reference to pop art and the way it requires a second look.


I have been struck by the trust the museum staff had in me. My first day on the job I was tasked with an inventory task for the Registrar. In other jobs, “taking inventory” is probably a punishment, met with groans and an eyeroll, but taking inventory in an art museum is one of the coolest things I’ve ever done. This task meant going into the vault and putting my eyes on every single piece in the collection. It’s a shame you can’t take inventory too because there is some incredible stuff back there. The hours of my “job” flew by as I inspected the sculptures, prints, and paintings that make up the history of this museum. 


For the education department I got to take an even closer look at the pieces in the permanent collection. Not only was I given the task of researching several of the works for social media posts, I also designed coloring pages that will make up the new “Color our Collection” book. Yet again I was up close and personal with the work, studying every contour and element of composition to create its black and white coloring page clone. 


On my  first day of working with the Archivist I learned I would get to design and curate my own show. My own show?! I kept my cool as she told me the details. A two foot by four foot pedestal would be set up in the Center for Education, and I had full control of what would be on display inside.

As the weeks went by, the “newness” of the job wore off, but the surprises didn’t stop. I observed the staff’s genuine passion for their community, the extreme care taken to every detail of opening a new show, their enthusiasm for the work. Art has always meant a lot to me. I believe it has the power to bring people together in a way nothing else can, and I got to work in a museum in Albany, Texas that is proof of that! I have learned so much during my time working here and will continue to learn as I reflect back on the work of the collection.

Phoebe Voss, Museum Studies Intern

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Wishes for a Schlunky Spring

Wishes for a Schlunky Spring

Schlunky Geraniums, n.d. BRIAN NIEBAUER. Oil on canvas.1993.073

Schlunky Geraniums, n.d. BRIAN NIEBAUER. Oil on canvas.1993.073

“Schlunky”

Standard Definition:

● Unimpressive; Not thriving

Modern Definition:

● A situation which turned out surprisingly well/ great

In his last year, many of us have felt like these geraniums – a little worn and stressed. Like this plant, many of us need a bit of “TLC,” and the light of a brighter day. But Spring is approaching and with it, the promise of new beginnings! A time of hope when difficulties ease and good things return. My hope for you is a Schlunky Spring, in combination of both old and modern definitions. Something less than optimal- that turned surprisingly wonderful. To start it off, I suggest an afternoon at the OJAC to escape the routine, experience some beauty and refresh your soul.

Susan Montgomery, Membership and Development Coordinator

Spring Greens: OJAC Staff Picks for March

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Spring Greens: OJAC Staff Picks for March

Inspired by the most popular color of March, OJAC staff are sharing their favorite “Greens” from the museum’s permanent collections.

Enjoy and comment with your own favorites below this post!

Untitled, 2001, TONY FEHER. Postage stamps and staples on paper. 2002.005

Untitled, 2001, TONY FEHER. Postage stamps and staples on paper. 2002.005

Amy Kelly; Registrar
Feher’s thoughtful and carefully composed creations give new life to mass-produced and easily discarded objects. In this work, thirty-five cancelled “fawn” stamps form an artistically formal collage attentive to composition, color, and repetition.

Walrus Head (from Frobisher Bay), 1986. SEEPEE IPELLIE. Steatite and ivory. 1987.046

Walrus Head (from Frobisher Bay), 1986. SEEPEE IPELLIE. Steatite and ivory. 1987.046

Tatum Calhoun; Visitor Services and Administrative Assistant

This green walrus always reminds me of childhood summer visits to Texas State Aquarium in Corpus Christi, Tx. I remember pushing my family to rush through to the Walrus' for feeding-time!

By the Sea, 1985. JOHN HELIKER. Oil on linen canvas. 1992.024

By the Sea, 1985. JOHN HELIKER. Oil on linen canvas. 1992.024

Susan Montgomery; Membership and Development Coordinator
As I know the artist spent most of his life on the east coast, this portrait reminds me of the Eastern Shore and Nantucket. The green jacket worn by a young boy is what caught my eye with this piece. I really love the soft brushstrokes and muted edges that cause the colors to melt into one another.

Summer Sledding, 1974. EMILY GUTHRIE SMITH. Pastel on paper. 1997.033

Summer Sledding, 1974. EMILY GUTHRIE SMITH. Pastel on paper. 1997.033

Erin Whitmore; Education Director
Summer Sledding by Emily Guthrie Smith brings back childhood memories of choosing just the right cardboard box from my grandfather’s garage, then racing my siblings down a well-worn hill at a park near my home. The sensory details found in this pastel scene will always remind me of dusty blue-jeans, the smell of freshly cut grass, and the sounds of ducks from the lake behind the hill.

Sam, c. 1954. ANDY WARHOL. Ink and watercolor on paper. 1995.025

Sam, c. 1954. ANDY WARHOL. Ink and watercolor on paper. 1995.025

Molly Merck; Educational Programming Coordinator

This Warhol "Sam" print is my favorite green cat in the world. I've always been crazy about animals and pets and I love reading the stories of the many Sam cats and envisioning the simple, sweet joy of the connection between a world renowned artist and their pet... or, in this case, pets. Warhol had not one but many cats named Sam the images he created of them are just as prolific. The green hue of our print is light and calming and comedicly paired with a mischievous red color of the eyes.

Sunflowers, c. 1972. PETER HURD. Watercolor on paper. 1993.099

Sunflowers, c. 1972. PETER HURD. Watercolor on paper. 1993.099

Hannah Rankin; School Outreach Instructor
Sunflowers by artist Peter Hurd reflects a scene that takes me back in time to my childhood of running through the sunflower patches in rolling green hills in the late evenings of summer.

Jay’s Pool, 1944. BILL BOMAR. Oil on canvas. 2007.009

Jay’s Pool, 1944. BILL BOMAR. Oil on canvas. 2007.009

Molly Sauder; Archivist and Librarian
I really love the colors in Jay's Pool by Fort Worth Circle artist Bill Bomar. The shades of green and teals, along with the blues and golds, instantly catch my eye. In addition, I love the border that Bomar painted in around the top and right side of the piece, as it invokes a sense of ancient Egyptian art in the way he stylized the plants that dot around the edge.

Set of Four Bowls, 20th century. CHINESE. Jade. 1995.001-004

Set of Four Bowls, 20th century. CHINESE. Jade. 1995.001-004

Jewellee Kuenstler; Texas History Curriculum Coordinator
My favorite OJAC “green” are these jade Chinese tea bowls. I imagine they feel cool and smooth to the touch, and their color reminds me of a cool spring breeze and sense of contentment.

Green Art Research Library. Est. 1984

Green Art Research Library. Est. 1984

Pat Kelly; Executive Director and Curator
The Green Art Research Library- because it has a bounty of art books that I never grow tired of searching. The subjects and artists mirror the museum’s eclectic art collection and is a valuable resource for research. It’s likely the best collection of art books in West Texas…maybe beyond.

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