A Time for Tea

One of my favorite things in the world is a nice cold glass of sweet tea. I also enjoy a nice hot cup of chamomile or peppermint tea occasionally. 

And did you know that Tea has it’s own holiday? International Tea Day was celebrated this weekend!

This special Remembrance day honors the health benefits, economic importance and cultural heritage of tea, while ensuring a more sustainable production from field to cup. 

It was created to celebrate and pay tribute to the countries that produce tea to supply to the world- such as India, Sri Lanka, Uganda, Bangladesh, Vietnam and more! 

But you know where Tea originated?

The story of tea begins in China.. 

According to legend, back in 2737 BC, the Chinese emperor Shen Nung was sitting beneath a tree while his servant boiled drinking water, when some leaves from the tree blew into the water. A renowned herbalist, the emperor decided to try the infusion that his servant had accidentally created. The tree that dropped the leaves was a Camellia sinensis, and the resulting drink was what we now call “tea.”

Did you know that before tea became a popular beverage option- it was eaten like a vegetable, or used only for medicinal purposes? 

It wasn’t until the Tang dynasty that tea drinking became an art form and was able to be enjoyed by all social classes. 

Today, tea is one of the top five most popular beverages consumed globally, preceded only by water, and followed by coffee, juice, beer and soda!

So in honor of the Chinese origins of one of our favorite beverages- I decided to bring you to one of my favorite objects in our exhibit of Chinese porcelain. 

Teapot, late 19th or early 20th century. Chinese, Qing Dynasty (1644-1911) Gift: Bill Bomar 1981.324

This teapot is made of fine Chinese porcelain and is decorated with a floral motif and various borders in the Ming style.

It is decorated with what is called a "famille rose" color palette, which is a french term for “Pink Family”- and refers to 5 colors. 

During the 19th and early 20th centuries, it was popular to use this color palette to decorate porcelain with scenes from novels or plays, with good-luck motifs or with luscious flowers and fruits. The body of our pot boasts a gorgeous floral motif- and the color and species of its flowers do have a significant meaning! We know that the colors pink and red are colors of celebration, good luck, and happiness. The red flower in the center of the pot, which is a hibiscus blossom, symbolizes Fame and Glory.

The pattern on the rim and lid of the teapot is a variation of the “ruyi” symbol. The Ruyi is a curved decorative object that serves as either a ceremonial scepter or talisman that symbolizes power and good fortune in Chinese folklore. Ruyi would be placed as decoration in the home or in temples that could symbolize power, peace, and happiness. The curved "ruyi'' symbol, like the one on our teapot, frequently appears as a motif in Asian art to symbolize luck and good fortune.

Our highly decorative teapot is certainly functional, and would likely have been used at very special occasions. 

And I’m not sure if this lovely artifact has brought us luck, but it’s definitely a tour favorite!  

I encourage you to come enjoy a closer look at this gorgeous artifact in our galleries.

Cheers!


Kellie Bellah

Visitor Services Assosciate

Fun & Final Month of Outreach

THIS MONTH IN ART-TO-GO:

The month of May is always a staff and student favorite in our K-12 campus outreach program, Art-to-Go.

Each month of the program focuses on a different cultural or social awareness theme, and includes a multi-media presentation of Prezi, books, music and videos, followed by investigation and discussion of a museum artwork or artifact, and a coordinating studio activity.

And after 8 months of these visits to their campus, students travel to the museum for both their final session as well as a tour of the collection objects they have explored over the course of the school year.

This May’s focus was Inti Raymi (the Sun Feast)- a cultural celebration that began with the ancient Inca and continues to this day in modern Peru.

Taking place in the capital city of Cuzco, it is a thousands year old celebration of Inti (the Sun), growth, and gratitude, which includes food, music, parades, performance, and colorful ceremony.

WHAT WE EXPLORED:

Younger students explored the traditions of Inti Raymi through the story of one young family in Peru.

Older students watched video of the modern Inti Festival to discuss how social, climate, and technological changes have shaped modern celebrations.

All students investigated Incan and pre-Incan artifacts currently on view in our Ancient Americas exhibit, which reflect connections to different elements of the Festival.

WHAT WE MADE:

Younger elementary students tried their hand at metal tooling to craft a golden Inti Headband inspired by that of the festival’s Sun King! They decorated their bands with traditional Incan shape patterns, and then donned their Golden creations to exclaim “Inca Forever!”

Older students explored the history and sounds of an ancient wind instrument which plays an important role in the Inti Festival. The Siku (“See-koo”) is a pan flute crafted of bamboo chutes and held together by strip of decorative weaving.

Students created patterned warps, then cut bamboo straws into exact lengths to create different tones of sound. They wove their chutes as weft through their decorative warps, and then attempted to play one simple tune of the Sikuri (Alpaca Shepherds who are masters of the instrument).

After exploring traditional Chakana imagery of the Festival, our oldest teens discovered the popular Peruvian game of Sapo! This game, based on an ancient Incan folktale about a Golden Frog, has players toss gold coins into holes on a wooden game board. (Much like fiddly-winks or ski-ball) Traditionally, the winner is the player who manages to toss their coin into the mouth of a golden frog statue in its center.

Students first decorated their golden frogs with traditional Chakana motif, and then assembled a standee to compete and flick their “Incan coins” through. (More difficult than it might sound!)

All of these Golden Crafts were a hit as students learned and crafted in our Stasney Center for Education.

Our program Instructors were excited to invite each student to our own Inti Raymi Festival, which will take place on museum grounds on June 18th.

This month’s program was a wonderful way to conclude a challenging, but meaningful year of outreach to students in our Region. We are already looking forward to the Fall..

Hannah Rankin

Campus Outreach Lead

"Musicians of the Sun" by Gerald McDermott

"Musicians of the Sun" by Gerald McDermott

One of our current favorites in the museum giftshop is the children’s book “Musicians of the Sun” by author Gerald McDermott.

The story, inspired by Aztec-folklore- tells the tale of the deity Tezcatlipoca, who sends the musicians of the Sun down to Earth to make things more joyful and colorful there!

Examining the book’s beautiful illustrations, (created in acrylic fabric paint, opaque ink and oil pastel on paper handmade in Mexico) I noticed direct resemblance between many of its characters and figures of our current exhibit, Ancient Americas in a New Light .

The exhibit, on view through August 20th, showcases a variety of artifacts from over 30 Central and South American ethnic groups- including pre and post-Aztec vessels, effigies, tools, jewelry and musical instruments.

One case is specifically devoted to musical figures and ancient instruments such as rattles, whistles, flutes and drums!

In fact, our Museum Educators have been sharing this special story to our younger visitors in the galleries this month, followed by videos of traditional music performances, then crafting a musical vessel of their own.

Our team highly recommends the book as post-visit educational enrichment for children ages 5-10, as well as an souvenir that can be enjoyed time and time again!

Pick up your copy today after exploring our exhibit, or purchase it in our online giftshop below!

Kellie Bellah

Visitor Services Associate

...making sense

...making sense

I was recently listening to an interview with the musician David Byrne, formerly of the band Talking Heads, about music played in different venues. The conversation began with the idea that some musicians create music with the intent that it will be performed in particular places. When played in locations other than the intended, it does not sound quite the same. An example would be organ music composed to be heard in the smaller confines of a gothic cathedral may not be as impactful in an expansive music hall. Similarly, Byrne confessed the Talking Heads’ early music was really intended for small club-like venues. When the exact songs were played at Carnegie Hall, the sound experience was not the same.

While listening to the interview (that I admit I have not listened to in full as of this writing) I began thinking about works of art. I think we assume that most art we see in a museum was created ultimately to be shown in a museum. Not so! If you look at pre-Renaissance painting for instance, many of the icons were intended to be seen in churches as part of multi-panel altarpieces. In fact, many have been separated from the larger altarpieces and presented as individual works in museums. Similarly, many early modern works you now see in museums were intended to be shown in private collectors’ residences or parlors. I am not drawing any conclusions, but it does make one wonder about intention or lack of—relevant to context—when viewing a work of art. Was the work created with a viewing place in mind? Is the context in which the viewer experiences the work what the artist really intended? Is a museum or collector’s home the best place for the work to be seen? Should this even be a concern of an artist or serious collector….or museum? Or, should everyone just blindly follow convention and their muses?

There is much more to considered with this idea. I’ll leave you with this one simple task. When you are viewing a work of art, ask yourself, “Would this work be different (better or worse) if viewed in another location or context?” 

Patrick Kelly

Executive Director

Pysanky: a Ukrainian Spring Tradition

Pysanky: a Ukrainian Spring Tradition

Right now, in countries across the northern hemisphere- many cultures are welcoming the season of Spring and all the special things it brings.

What changes SIGNIFY (show) this seasonal shift?

(climate, birth, growth)

Many cultures celebrate the end of Winter/ beginning of Spring in similar ways.

Can you think of some examples of spring traditions that are cross-cultural (something people in many cultures do) or culturally-specific (something one culture does)?

In the Ukraine, the season of Spring is celebrated by decorating an object that is a SYMBOL for new life.

Pysanky

Pysanky “peh-sun-keh” is a very old egg-decorating tradition in Ukraine and other Eastern European countries. Ukrainian artisans (usually older women known as Babushkas) have been creating Pysanky each winter for hundreds of years. These eggs are given as gifts to friends and neighbors upon the first arrival of warm weather, in celebration of hope and new beginnings.

Let's explore how the design and process of this art form are unique!

Compare/ Contrast the design of Pysanky below with the "Easter Eggs" that many people decorate in North America.

(Notice bold rather than pastel colors, geometric shapes and pattern, lack of spring animal imagery)

How it’s Made

The word Pysanky comes from the Ukrainain word "pysanka" which means "to write."

To create these tiny 3-D paintings, artisans first hollow real eggs by poking tiny holes in the end and draining it's contents. (usually the egg yolk and white are eaten, not wasted!)

They then gently draw intricate designs on the fragile eggshell with small stylus called a KITSKA ("keet-skah"). Using the kitska, they create segments and patterns onto the surface of the egg with liquid beeswax.

Creating Pysanky is a WAX-RESIST process.

As the wax dries, it creates a seal over the white eggshell. The artistan will now dip the egg into the first color of dye. The lines they have drawn in beeswax resist the dye.

After drawing and dipping numerous times, the artisan will hold the egg over a lit candle and burn away all the beeswax. Only the dyed areas of the eggshell that were not protected by beeswax lines will still remain.

Watch the video below to take a closer look at this process!

 

Traditional Motifs

These are traditional Pysanky designs. Ukrainian artisans have been decorating their Pysanky with geometric designs such as these for hundreds of years.

Each design has dividing lines that create SEGMENTS. Pysanky designs are often divided into Halves or Quarters (Quadrants).

Nearly all Pysanky designs include REPETITION- simple repeated lines or shapes.

Often, this repetition creates a type of SYMMETRY or REFLECTION.

Most Pysanky designs utilize bold, contrasting tones such as black, red, orange, yellow and green. Light, pastel tones are rarely used.

 

Collection Connection

The OJAC holds a few antique Pysanky in its study collection. They were created in Eastern Eurpope around a century ago.

Look Closely:

Which of the eggs on the left has been dipped in dye once? Which was dipped twice?

Think:

Considering traditional Pysanky color-schemes, which of these eggs do you feel has had the most sun-exposure and color fading over time?

What special things do you think the museum does to PRESERVE an object this fragile?

Pysanky are such a lovely Ukrainain tradition of friendship and goodwill towards neighbors.

I felt this spring/ Easter season in particular was a perfect time to celebrate both that theme and the history of that beautiful country.

Erin Whitmore

Education Director

Chimu Whistling Jars

Chimu Whistling Jars

In celebration of our new exhibit, “Ancient Americas in a New Light” I thought I would spotlight my favorite piece from the animal effigies display.

Before I started working at the museum I had never heard of a ‘Whistling Jar.’ (I own a “gurgle pot” and wondered if they were similar.)

And in some ways they seem to be.

A gurgle pot is a fish-shaped pitcher that makes gurgling noises as you pour liquid from it’s spout- a functional object that also entertains. (A hit at dinner parties!)

A whistling jar is also a functional vessel with a fun twist. These jars make a bird-like chirping sound when you blow air into the spout, or when liquid is poured slowly from one of it chambers to the other.

Watch the videos below to for audio demos with air and water.

You’ll note that these lovely jars come in different shapes, sizes and designs (most look in the form of animals or people.) The sounds they emit are also diverse- with pitch depending on size, shape and fluid levels.

So even though they serve as functional pitchers, they are playful musical instruments which might have been enjoyed by children and adults alike.

The specific whistling jar seen below was created by Chimu artisans over a thousand years ago.

The Chimu were a civilization that lived before the Inca on the northern coast of what is now Peru. They were successful engineers and artisans, and because they lived along the coast, you can see a lot of their coastal lifestyle reflected in their artwork such as fish, otters and seabirds. The whistling jar pictured below was likely designed after a seabird.

Whistling Jar with Bird Head. CHIMU. Blackware. 1000-1466 CE

Though we understand the origins, components and potential of this object, no one really knows for certain the full purpose of jars such as this one from the OJAC collection.

Formal studies have suggested that they might actually be finely tuned, acoustical shamanic instruments– used for religious rituals, health and healing involving chakra and the human body. (This hypothesis is related to a Chimu belief that the creator made the first life on Earth from breathing into clay.) 

The Chimu might have played the sounds of one or multiple pots to achieve different pitches while meditating. These layered sounds might cause relaxation, healing or even visions.

I wish it were possible to test and listen to the sounds I am certain would be unique to this sea-bird effigy. I can only imagine it’s call as air and water flowed through it’s chambers! However, I do feel fortunate to spend a few moments with him each day at work.

Don’t miss your own opportunity to investiage this and dozens of other equally fascinating preColumbian artifacts in person- on view this summer though August 20th!

Kellie Bellah

Admin. Assistant & Visitor Services Associate

If not now, when?

If not now, when?

When I got to the top of the stairs, I was immediately drawn in by a bit of crumpled newspaper used to prop up a vintage wooden shelf in the windowsill. At that point, I knew this was going to be fun. Chris Powell’s Cell Series installation then now offers humor, contemplation, discovery, and all aspects of time. 

Top 10 things (from my perspective) to seek out in Chris Powell’s Cell Series installation, then now:

  1. Daily drawings of cones, Brahman bulls, and submarines revealed elsewhere in three-dimensional form. 

  2. Exposed layers of raw plywood resembling ancient sedimentary rock formations.

  3. Provisional dirt dauber nests cast in porcelain. 

  4. Afternoon light passing through utilitarian vessels.

  5. Immediacy of curling blue tape sharing shelf space with tiny ceramic animals.

  6. Igneous rock given to the artist years ago by Reilly Nail, co-founder of the OJAC.

  7. Glassine bags and carefully folded paper suggesting hidden treasures inside.

  8. Childhood photos of the artist and his wife.

  9. Discarded bottles given new life as terrariums.

  10. A moment to consider longevity among dome and tomato trellis.

Don’t worry, I haven’t given away all the surprises. There are so many more compelling and thoughtful groupings in the installation. It was difficult to stop at ten. Give yourself time to consider the relationships between objects and the dialogues they share. I’d venture to bet that even if you visited Powell’s Cell Series installation every day from now through May 14, you’d never see its entirety.

Amy Kelly

Registrar

Installation view; then now

Belated Birthday!

Belated Birthday!

After having to put the celebrations on hold for a couple of years, the OJAC finally hosted its 40th Anniversary Ruby Gala on February 26th.

One small part of the many preparations was for the Archives to search through the Institutional Repository collection and find images from across the years for a special slideshow. We had a lot of fun looking back, seeing old familiar faces and watching the museum grow before our eyes - the OJAC has come a long way!

Der Ausflug nach Deutschland

Der Ausflug nach Deutschland

I must start off by saying I’m not the typical world traveler. I have friends that left for Europe after graduation, I spent a weekend in Woodson, TX (population 183) after graduation.

The OJAC has in its collection a painting by Paul Klee. We were asked to lend that piece to the Tate Modern in London for a Klee Exhibition. During a Board meeting of the OJAC, I casually mentioned that if the Klee was invited, that we ought to also be invited to the opening of the exhibition. To my surprise, most of the Board agreed, and we set out to London for the exhibition and a grand tour.

A couple of years later, the OJAC was invited to send the same work to Munich for another exhibition of Paul Klee’s work. Upon that invitation, once again the Board decided that not only would we send the Klee piece, but that we would certainly need to accompany the art for the opening.

With commitments from fellow travelers, we began to formulate our trip. As the date of travel arrived, our delegation left Texas for Germany. It was amazing to see a country that was devastated by the war in the 1940s with a majority of the historical buildings and artifacts destroyed that had not only been rebuilt, but had been restored in the same architectural style of history as when they were originally constructed.

Upon arrival, we were invited to numerous luncheons and dinners, and were treated as revered guests due to the fact that we are from Texas. Of course, many times the question came up—do you know John Wayne? I always answered with, “although I didn’t personally know John Wayne, I do know Dean Smith who was the stuntman for all of John Wayne’s movies.” That statement usually got me admiration and awe. The Klee exhibition was marvelous. We were able to see Klee’s life laid out and to see the progression of his art starting in his young life, and how the politics of the 1920s and 1930s influenced him and his art.

I am also the least educated art lover, but after gazing at a piece and having it explained to me, then it becomes alive in my brain. Therefore, that explains my love for the piece by Klee titled Der Weg ins Blaue (The Path into Blue) created in 1934. It is a circle in a sea of blue.

Upon explanation of not only the painting but his works, I finally understood the significance of the symbolism that his brush instilled upon the canvas. My favorite explanation of this Klee is, “the blue circle appears as a celestial body, suggesting a longing for the limitless and the divine.” Wow—the painting and the suggestion then become real and very understandable.

 

Steve Waller

OJAC Board Chair

Homecoming

Homecoming

The Old Jail Art Center was preparing to celebrate its 40th anniversary with a gala celebration in March 2020 but all plans were postponed indefinitely due to the Covid pandemic. Coinciding with a grand party, to mark the milestone, were exhibitions thematically and conceptually curated specifically for the museum’s anniversary. Fast forward two years and the celebration was rescheduled for February 2022. Though the party could be (and was) re-tooled, the exhibition calendar had been established well in advance. And yet, by luck or serendipity, the three exhibits scheduled to debut were actually a perfect fit for recognizing 40 years of the institution and its exhibitions. 

Fort Worth artist Chris Powell created a fantastic installation of his work in the OJAC Cell Series titled then now. Powell was one of the first young Texas contemporary artists that founder Reilly Nail selected to exhibit at the OJAC in the late 1980s and whose works entered the OJAC’s permanent collection as well as Nail’s private collection. New York artist Jeffery Brosk was the second artist to participate in the aforementioned Cell Series in 2009. His installation in the museum’s project gallery titled Territory provides a glimpse into his new work in the context of a more minimal space than the 1877 jail cells. Finally, after a hiatus in the storage vault for some six years, the OJAC’s Ancient Americas collection has been reinstalled to draw relationships between the form, function, and beauty of each object. 

 Powell’s title then now sums up all of the exhibitions during this recognition of now 40+ years of operation. We can celebrate two artists returning home as well as enjoy a fresh look at works that have been a vital part of the permanent collection.

In this manner we can look back at where we were then and celebrate where we are now. Isn’t this the perfect type of homecoming?

 

Patrick Kelly

Executive Director and Curator

Senufo Porpianong

Senufo Porpianong

The Senufo are a people of the Ivory Coast, but their culture long precedes the name of the country. The Senufo known for their peaceful culture, impressive sculpture, carving, and agricultural skills.

Like many other indigenous populations of that region, the Senufo believe in spirits that exist in different elements of nature. In other words, that all plants, animals, water, etc., are alive with spiritual energy. 

These spirits are believed to be all-powerful and may choose to help or harm human plight-- depending on how nature is treated. For example, the Senufo believe that if their farmers are responsible with the land and never take more than is necessary, the spirits will be kind and grant them a good harvest. But if the farmers abuse the land and its resources- the spirits may cause famine or bring poverty to the village. Therefore, the Senufo highly value environmental stewardship. 

To appease the nature spirits even further, they often re-create the forms of these spirits in works of art- such as in cloth paintings, metalwork, or wood sculpture. One such work now resides in the OJAC permanent collection.

Porpianong (Hornbill) c. 1940. SENUFO. Wood. 1991.006

This is a “Porpianong” (or Hornbill in English). Hornbills are the most important Nature Spirit to the Senofu- as they are reflected in their creation story. In which, the hornbill flies over all the land, dropping and spreading the seeds of life. Of all the Nature Spirits, its image is the most sacred and referenced in their artwork. 

The OJAC’s Porpianong was carved over 80 years ago by Senufo youths at what is called the Poro.  The Poro is a really unique, thousand-years-old tradition! It’s a special school that young men and sometimes women attend when they are transitioning from childhood to adulthood. Basically, a cultural camp for youth held deep in the woods–located far from the student's villages as to avoid any distraction. This seven-year camp is where adolescents learn the social, religious, and daily traditions of their culture. They are introduced to oral histories, religious beliefs, the skills of artisanal crafts, ancestral farming techniques, as well as social skills and lessons in community life. After 7 years the students of the Poro return to their families and they are then considered prepared for all aspects of adulthood.

This hornbill statue was carved from soft forest wood. From a conservation perspective, caring for wood is more complicated than caring for an artifact made of clay or metal. As it’s an organic material that houses and feeds insects and worms, sculptures created from wood can be comparatively short-lived. In fact, Poro wooden sculptures should be able to be traced back as far as the ancient Egyptians, but sadly there aren’t any that age in existence- simply because wood decays!

We are caring for this one diligently, and our hope is to preserve it for many generations of visitors.

Kirsten Hahn

Education Programs Coordinator

Sweet Nothings

Sweet Nothings

As it’s the week of Valentines I thought I might introduce a work that reflects many treats of the holiday, as well as one of our favorite collection artists.

Celia Munoz is a contemporary artist who hails from El Paso, Texas. Her artwork is conceptual, photography-based mixed-media. She often draws from her experiences living near the US-Mexico border, with her work addressing tensions between linguistic, cultural, and political worlds.  Visuals that reflect ambiguous signs and signifiers where cultures meet–  and text including word-play, puns and double meanings. 
Additional reflections of contradictions and dualities are found in imagery that blend her home, family, school and work identities.

Let’s take a closer look at one of her works below.

Sweet Nothings, 2000. CELIA MUÑOZ. Color lithograph on paper. 2013.018

You might be familiar with Saint Anthony from Judeo-Christian tradition. He is the Patron Saint of things that are lost and stolen. (Petitions are made to this saint by people who are seeking something.) The text in this work reflects the belief that St. Anthony would help a person find ANYTHING they prayed for (in this case- boyfriend) provided that person prayed for nine weeks. 

So this piece does reference a romantic relationship. But with an examination for further detail you will also find imagery of contraceptives as well as a celebratory “It’s a Boy!” cigar. This imagery alludes to pregnancy and new parenthood- mixed right in amongst a pile of candy.

Now, the visual of candy has a typically juvenile or adolescent association- it leads most to think of childhood celebrations. So what we observe is a blend of childhood and pregnancy imagery. Between this and the text that alludes to a search for a boyfriend..we might assert that the artist is addressing the issue of teenage pregnancy and perhaps single female parenthood. 

This would certainly reflect the genre of contradictions, dualities and double-meanings that Munoz’s work is well known for. Even the title of the work, Sweet Nothings, seems a play with ideas of romance, candy and the absence of something desired.


This work remains a tour favorite at the museum during Valentines Week and beyond. In addition to its fun and accessible visuals, it inspires a hunt for detail- we often find visitors taking a second look to decipher text and find brands of candy.

But I think the deeper impressions are made in its audience through its elements that surprise, and the thoughtful conversations that follow. This work often inspires a powerful, often cross-generational dialog of opinion, feeling and memory that is unique within our collection.

Erin Whitmore

Education Director

At the Masked Ball

At the Masked Ball

“Au bal masque - les fetes parisiennes- nouveaux confettis” - Henri de Toulouse Lautrec 1892

Henri de Toulouse Lautrec was known as a printmaker, draughtsman caricaturist, and an illustrator. He painted in what’s known today as the Post-impressionist period, along with other artists that he knew, such as Vincent Van Gogh, Edgar Degas, and Paul Gaugin.

Lautrec was born into an aristocratic family in southern France in 1864. At a young age he broke both legs, likely due to an undiagnosed bone disease, which stunted their growth and would affect him for the rest of his life. As an adult he would live and work and be artistically inspired by those of a lower socio-economic status in his community. Because of his disability he felt more comfortable and would immerse himself in the life of the “lower classes”, and often made them the subject matter and inspiration for his paintings.

In 1881 Lautrec settled in the Montmartre district of Paris where he met other artists such as Edgar Degas and Vincent Van Gogh as well as individuals that gravitated toward the cabarets, dance halls, and brothels.

In 1891 Lautrec started making posters for the Moulin Rouge Cabaret theater. Many artists looked down on Lautrec for this, because at the time making posters was not considered a notion of “high art”. Regardless he continued to make art for the Moulin Rouge despite what other artists thought of him, and many of his works have become famous, and recreated or parodied throughout history. You may recognize his character portrayed in many movies, including “Moulin Rouge” and his artwork appearing or referenced in cartoons such as “Spongebob Squarepants”. One lesser known detail about Toulouse Lautrec is that he was an excellent cook. He enjoyed cooking with recipes, experimenting with them and even creating his own dishes. After his death in 1901, his close friend and art dealer, Maurice , published a cookbook of Lautrec’s recipes in tribute to him.

Henri Toulouse Lautrec created “At the Masked Ball” in 1892 using watercolor, India ink and pencil on paper. A similar style like many of his posters for the Moulin Rouge, this artwork has a gestural feel to it, which like many of his paintings and prints gives the illusion of movement and warmth. Lautrec retained his aristocratic aloofness and sense of superiority and in doing so, became an unprejudiced observer of life. He recorded and translated his observations in his painting, drawing and prints. His erratic behavior and lifestyle were amplified by increased drinking, causing his health and artistic output to suffer dramatically, eventually leading to his death at the age of 36.

This artwork is a part of the OJAC permanent collection bequested of the Marshall R. Young Jr. Estate in 2001.

Kellie Bellah

Administrative Assistant and Visitor Services Associate

2022: Year of the Tiger!

2022: Year of the Tiger!

Happy Lunar New Year! Lunar New Year, also referred to as Chinese New Year, starts on Feb. 1 this year.

You may be wondering why this “new year” doesn’t start on January 1st as is celebrated by most of us in the west. Well, the Lunar New Year is based on a lunar calendar that watches the phases of the moon to help tell dates and times. Since the moon phases don’t have an exact amount of dates per month the new year will always land between the end of January to the middle of February.

Did you know: ⅙ of the world’s population celebrates Lunar New Year each year!

The festivities happen largely in many Asian countries, but none are bigger than the ones in China. Lunar New Year is a 15 day-long festival! During this time people may clean out their houses, get new haircuts, or settle disagreements to welcome in the New Year. On New Year’s night, many families will make dumplings together and eat long noodles, both are supposed to bring you luck and health.

Lunar New Year also is associated with a zodiac calendar. There are 12 years in a cycle, and each year in that cycle represents an animal.

2022 is the year of the Tiger!

Find the year of your birth on the calendar to the left.

I was born in the year of the rabbit, how about you?

The Chinese have long associated a person’s birth year with the attributes of its coordinating animal.

For example, as I was born in the year of the Rabbit, it might be said that I am imaginative, thoughtful, cautious and quick!

Look through the list of attributes on the right that match your own Zodiac animal.

Do you feel those characteristics are an accurate reflection of your personality, skills or interests?

Let’s Celebrate!

This month, K-12 students across our region joined us in celebrating this colorful holiday through our campus outreach program (Art-To-Go).

K-2nd crafted paper tiger lanterns, complete with stripes and the symbol for Tiger in Mandarin Chinese.

3rd to 6th graders learned the ancient art of tangrams and solved each animal puzzle of the Zodiac! They went home with a magnetic puzzle tin to solve future puzzles!

JH/HS students crafted a lucky Yuanbao keychain. (Yuanbao were gold weights used as currency in ancient Chinese cultures. We sculpted them from clay, painted them gold, and added a calligraphy tiger and lucky red tassel.

To cap off our celebration this season, the museum will be hosting our 13th annual Lunar New Year Festival, this coming Saturday, Feb. 5th!

YOU are invited! All ages are welcome to this FREE event- so bring the whole crew!

Experience traditional foods, games with prizes, music, artwork, and much more!

Kirsten Hahn

Education Programs Coordinator

The Aztec Theatre

The Aztec Theatre

The Aztec Theatre, located on Main Street in Albany, Texas, was built in 1927 by Frank Whitney at a time when movies were still silent, utilizing an orchestra pit constructed below the screen for a required piano. The theater has since been renovated twice, once in 1939 and again in 1994, and today continues to host a variety of events and shows.

Frank Whitney, an Albany native and young man at the turn of the century, had a passion for the theater and for the newly emerging motion picture media. His first established show house, the Albany Theatre, was operated out of a vacant store in the early 1920s. By 1925 Whitney was making plans to construct a much more up to date movie theater space, and in March of 1926 he opened the Ritz Theatre in a converted building on Main Street.

Whitney sold the Ritz Theatre building in late 1926, just one year prior to the construction of the current Aztec Theatre structure. Completed in September of 1927, the Aztec opened with great fanfare and a full house. In the spirit of the building’s exterior design, Whitney even wore a Spanish costume.

In 1931 Frank Whitney passed away as a result of injuries sustained during a car accident. Afterwards, the Aztec was leased to H.S. Leon of Haskell, and over the course of the following years he purchased interest in the theater from the estate. By the summer of 1939, the Aztec Theatre and the land it rested on were fully his.

Not long after gaining full ownership of the theater, Leon closed the building for a short time for remodeling. It was at this time that the current interior look was first established. The surrounding walls were painted to resemble a Spanish courtyard, and the ceiling was painted blue with stars. In addition, the orchestra pit, no longer needed with the advent of ‘talkies’, was filled in with concrete.

In its heyday, the Aztec showcased a variety of films each weekend throughout the year, with both early afternoon matinees and evening show times. After the 1939 remodel, prices at the door were 25 cents for adults and 10 cents for children under 12.

Although the popularity of movies dwindled with the passing of the years and the Aztec fell into disuse for a time, the Albany community was unwilling to let such a unique and historical element of their downtown history fade. In the early 1990s, community involvement and commitment secured the money and resources for the theater’s renovation and restoration. Today the Aztec remains a vital part of Main Street and the downtown area.

New Face at the Front Desk

New Face at the Front Desk

Hi! My name is Kellie Bellah and I am super excited to be working here at the OJAC as the Administrative Assistant and Visitor Services Associate. I look forward to getting to know everyone on the team and in the community.

A little bit about myself: I grew up in Abilene Texas and studied Art and Graphic design at Hardin Simmons University in 2014. I loved studying Art so much that in 2015 I went to TSTC in Abilene to study Digital Arts and yes, it’s different than graphic design, and I loved it even more! I’ve always had a passion for the Arts including music, theater and sewing. Growing up I liked to enter art competitions and even won a few, and some of my pieces are featured in museums in Texas.

After graduating college I worked at various places trying to find my place in the art world, including Painting with a Twist, the Paramount Theater, and David’s Bridal as an Alterations Specialist in Abilene. After that I worked as an Art teacher for 3 years in Throckmorton Texas. I enjoyed, loved and am thankful for all the experiences and everything I learned, and learned that I love sharing art and my experiences with art with others.

Currently I live in Throckmorton Texas with my husband of 3 years Kolton Bellah, and our lovely dog Tiramisu. In my spare time I like to sew and occasionally enter competitions with my work. I try not to be too competitive, but that’s what makes it fun!

I look forward to my time here at the OJAC!

Kellie Bellah, Administrative Assistant and Visitor Services Associate

Flight Into Egypt

Flight Into Egypt

The flight into Egypt is a story recounted in the Gospel of Matthew (Matthew 2:13–23). After Jesus was born in Bethlehem in Judea, an angel appeared to Joseph in a dream telling him to flee to Egypt with Mary and the infant since King Herod’s jealousy made him want to kill the child. 

This event has been interpreted countless times in art throughout the centuries. Here, the Russian-born artist Eugène Berman depicts the young family crossing over an arched stone bridge in the shadow of night. Beneath their silent passage, a few shepherds and their wooly sheep congregate among sparse grass and scattered stones. Mary and the baby are mounted on the donkey and share a close physical bond. Though Mary is shrouded, the infant Jesus appears upright and alert as if assured of a safe outcome. In contrast, Joseph follows the pair on foot clearly burdened by the long journey and their uncertain future.

The scene was one all too familiar to Berman, who fled with his own parents to Paris during the outbreak of war in 1918. A leader among the Surrealist and Neo-Romantic artists, Berman focused on the expression of emotion, loneliness and human isolation that emerged between the World Wars. Trained in Paris, Berman was drawn to the U.S. by the legendary art dealer Julien Levy and exhibited alongside Salvador Dali, Man Ray, and Marcel Duchamp. In 1935, Berman came to the United States, painting covers for a variety of fashionable publications and sets for the Metropolitan Opera. By the time he’d become a citizen in 1944, he had settled in Hollywood, CA. Guggenheim fellowships allowed him to tour the Southwest and Mexico—their arid landscapes becoming a source of inspiration. Berman would later retire to Rome in 1957, where he lived until his death in 1972.

This work by Berman, as well as his own childhood experience, reminds me of the countless individuals and families who seek refuge in safe lands even today. As many gather this season in celebration of Jesus’ birth, this poignant image serves as a reminder to extend compassion towards those fleeing persecution and seeking personal freedom. 

 

Amy Kelly

Registrar

EUGÈNE BERMAN (1899-1972), Flight into Egypt, 1961, ink and watercolor on paper. OJAC Collection, Gift of Kelly Fearing. 1984.058

An OJAC Museum Studies Internship

An OJAC Museum Studies Internship

Growing up in Fort Worth, I had the opportunity to attend art museums starting at a young age. My father would regularly take me to the Kimbell, Amon Carter, and (my favorite) the Modern when I spent time with him on the weekends. This early exposure to the art world impacted me deeply as I endeavored to create my own art. My grandfather was an artist in his spare time and helped convince my family to support my passion as I got older.

During the covid-19 pandemic, I decided to return to college at the age of 27. I received my Associates of Art in visual art from Tarrant County College over the summer and immediately transferred back to the University of North Texas in the fall to finish my bachelor’s degree. Upon learning that I only had two semesters left to finish my degree, I decided to pursue college full-time. Browsing through college internships, I discovered the Old Jail Art Center’s museum studies internship program and applied right away.

I was worried about the length of the commute to Albany, the museum is more than two hours away from my home. My fears were assuaged on the first day of my internship as soon as I arrived and was given a tour of the museum. I was deeply impressed by the scale and scope of the museum’s collections.

Through the Ed & Interp Department, I researched and wrote artist and collection spotlights for social media posts. I also was able to research, write, and film two virtual tours of current exhibition works. Furthermore, I did remote work during the week which took the form of developing themed music playlists inspired by curated, themed albums of the museum collection.

In the Archival Department, I was tasked with creating an exhibit case on an aspect of Shackelford County history. I performed independent research and eventually chose my topic on the 1978 flood in Albany. I collected pictures, newspaper clippings, and other artifacts for my exhibit. I organized materials in the display case and wrote labels for my chosen materials. At the end of the project, I filmed a tiny tour of my exhibit for the OJAC’s Facebook.

The highlight of the museum studies internship was my time in the collections department. I was blown away when I was shown the art vault on my first day. I had the unique opportunity to work hands-on with photography collections by Ned Bosnick and Dick Lane. I collected measurements and descriptive data of more than 90 photographs and digitized all of the information for the museum's database as well as for their public, online collection.

I also performed a visitor services internship that  ran concurrently with my museum studies internship. In this position, I attended the museum's front desk on Saturdays, answered phone calls, and assisted patrons. I opened and closed the building and monitored patrons in the museum using the museum's security cameras. Being able to personally connect with museum patrons and docents gave me a well-rounded understanding of the art museum and the people who are involved with it.

The 10 weeks I have spent at the Old Jail Art Center have flown by. I can not overemphasize the kindness and professionalism that the staff has shown me during my time here. I have fallen in love with the museum and the town of Albany, which are rich with local history and culture. This has been a life changing experience that I will hold dear to my heart throughout my educational and professional endeavors. Thank you, OJAC!


Jeana Henry

Fall Museum Studies Intern

New to the Team!

New to the Team!

Hi everyone! I’m Kirsten Hahn, the new Education Programs Coordinator for the Old Jail Art Center. I am super excited to be on the team and to meet members of my new community. I thought I would use this blog post to introduce myself.

I grew up in Lewisville, Texas taking weekend trips to the Dallas Museum of Art at least once a month. I always loved museums and art growing up, but didn't know exactly where my interests would take me. When I graduated high school I packed my bags for Austin to attend the University of Texas as a film student! Somewhere along the way I also added journalism to my degree as I fell in love with photojournalism.

I was working media jobs here and there in college from Texas Parks and Wildlife to the Lady Bird Johnson Wildflower Center, when I finally got a job working for Landmarks, the Public Art Program at UT. It was great working with the Landmarks team and it made me realize my interest in museum education especially with an emphasis on art. One thing that really compelled me to the OJAC was its mission for free and accessible art which the world always needs more of. 

Moving out to West Texas has already been quite a culture shock. I have come to find out that I am still deadly allergic to mesquite trees- which Albany has plenty of!

But I am already settling in and enjoying the small-town life. Hearing the church bells ring every 30 minutes is one of my favorite parts so far. I am super excited to be working at the Old Jail and have already been out on a couple of school visits. I can't wait to meet everyone else at events, activities, and festivals.

Don't be afraid to come say hi to a new face!

 

Kirsten Hahn, Education Programs Coordinator 

Thanksgiving at Lambshead

Thanksgiving at Lambshead

One of my favorite photographs in the collection depicts the three Matthew sisters, Ethel M. Casey, Lucile M. Brittingham and Sallie M. Judd seated at wooden table on Thanksgiving Day.

Before them is an arrangement of persimmons, nuts and leaves. Behind them, a window bright with the light of a fall afternoon.

All three sisters were over 90 years old when this image was taken in 1983.

The Matthews family boasts a long and rich heritage of ranching in the Shackelford County area. (Many of the family still reside in the town of Albany today!)

In the spirit of gratitude as we gather this season, the OJAC staff would like to express our appreciation for over 40 years of membership and support. Each of you play an in important role as we work together for the present and future of this museum. Happy Thanksgiving from all of us at the Old Jail Art Center.

Susan Montgomery, Membership & Development Coordinator

Three Matthews Sisters at Thanksgiving, 1983. SCOTT HILL. Color photograph on paper. 1984.094