My OJAC Museum Studies Internship

My OJAC Museum Studies Internship

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

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

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

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

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

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

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

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

Catherine Shewmaker

Museum Studies Intern Fall 2022

Lot's Wife by Nathanael Neujean

Lot's Wife by Nathanael Neujean

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

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

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

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

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

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

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

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

Amy Kelly

Registrar

The Webb Family in Albany

The Webb Family in Albany

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

 

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

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

 

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

 

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

 

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

 

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

Molly Sauder

Archivist & Librarian

A Gate Which Opened Out

It’s Spooky Season at the OJAC!

Halloween is one of my favorite holidays.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kellie Bellah

Visitor Services Associate

Still Standing Strong after 2000 years

Still Standing Strong after 2000 years

The ceramic work below, titled “Standing Warrior with Spear,” captured my eye from the first time that I had the privilege of stepping into the museum vault. It is estimated to have been created by Jaliscan artisans between 100 BCE and 250 CE, making the figure around 2,000 years old. As I observed it closely, I felt absolutely awed by artifact so old yet successfully preserved!

This warrior stands 13in tall and 10in wide, is made out of hollow clay, and was painted red, black, and white, though these colors have not lasted as nearly as well as he himself has. He is standing at attention, legs spread wide on flat feet, ready to face any opponent. His torso is encircled by barrel armor, he is wearing a crested bucket-type helmet, ear spools with a black geometric design, and grasping his spear in front of him. He has a prominent pointed nose, and bulging eyes that you can’t help but to meet.

Before being acquired by the OJAC, this piece belonged to Jules Berman. Berman was a real estate developer and liquor importer, nicknamed “Mr. Kahlua” because he was the first to import the liquor Kahlua into the United States in 1962. Berman also became enthralled with collecting pre-Columbian clay and stone figures from Mexico around this time, and opted to include pictures of these figures in his advertisements for Kahlua. Thus, his collection of artifacts became known as the “Kahlua Collection.” This particular piece was later sold to collector William O. Gross, Jr. through the Neiman Marcus in Dallas, Texas.

Gross began his collection when he was just 10 years old with a spindle whorl that his father brought back to him from a trip to Mexico. He was an avid collector throughout his life, and by the time he came in contact with the OJAC he had acquired over 200 artifacts. Gross made his first gift to the OJAC in 1986, giving the Standing Warrior along with 87 other artifacts from his collection. Gross continued to regularly gift pieces from his collection to the OJAC for the rest of his life, giving a final 17 pieces in 1997. In total, Gross gave 208 pieces, which represent most Meso-American indegenous cultures.

The Standing Warrior has now been in the OJAC’s collection for 36 years, which still only accounts for less than 2% of its existence.

Catherine Shewmaker

Fall Museum Studies Intern

JALISCO, Standing Warrior with Spear, 100 BCE - 250 CE, ceramic with traces of pigment. Gift of William O. Gross Jr. 1986.062

Rural-scapes by Sarah Williams

Rural-scapes by Sarah Williams

Today I thought I would talk about one of my favorite oil paintings in the entire OJAC collection! I just love the mood and vibe of this modern work. This painting is titled “Highway 60” and was created by artist Sarah Williams. But before we explore this work, let’s talk about its creator. 

Sarah Williams was raised in the rural midwest in Brookfield, Missouri. She received her Bachelor of Fine Arts at William Woods University in Missouri and then completed her master of fine arts in drawing in painting at the University of North Texas. She now serves as a professor of painting at Missouri State University.

Williams believes art should originate from personal experiences. Her work focuses on her childhood and roots in rural American settings. She states, “I have become conscious that I am compelled to paint what I know best- which is the environment from which I come. My perception of a specific sense of place guides me while these local settings offer abundant material.”

She thinks her art isn’t just for people from small towns though. She said, “Even though my connection to the small town farm culture that shaped me as I grew up played a major role in how I approach these works, I believe they can speak to people from a variety of places and experiences. Each viewer brings their own vantage point to the works. It could be that they are from similar environments and feel comforted by the imagery, or maybe it reminds them of cross-country road trips. For some these desolate nightscapes may represent somewhere they hope to never find themselves alone. Whatever the case may be, it prompts viewers to draw upon the character and identity of their regional home when approaching these works.”  Williams also enjoys bringing paintings of small towns to a contemporary art scene in urban settings. It allows people to examine where they come from, and take pride in their home region. 

Okay now that we’ve got some context, let’s take a close look at the painting “Highway 60.”  Even though it is a night scene I absolutely love the level of detail visible in this work. The shining, neon focus of the painting stands in such contrast to the enormous black night that envelopes it on all sides. And those pops of light and color seem to draw your focus like a moth to a flame. 


Even though I myself am from the city, I can relate to a sense of rural landscape as I spent the summers in rural Iowa with my grandparents growing up. This painting seems to transport me to those summers- driving around at night. One of my personal favorite details of this painting is the snowflake light. This is such a visual staple in most small towns throughout the south and mid-west…regardless of their size or population they always seem to go all out for the holidays- and you never find a lamp post left barren. 

I think this quote from Robert Jessup defines Williams’ work perfectly, "Williams' landscape paintings present a uniquely focused view of the world. Her pictures do not depict picturesque views; rather they create scenes cinematic in their mood, setting, and sense of impending drama. Her paintings often depict lonely places, the air thick with isolation and dread, like an image by Hopper crossed with a scene from a Coen brothers' movie. In her night paintings, the ramshackle buildings and storage sheds, battered signs and water towers, glow with an ominously mysterious life under the nighttime illumination. What isn't seen is as important as what is and points to the real subject of these paintings: the heavy presence of the impenetrable night.”

Kirsten Hahn

Family & Public Programs Coordinator

Collective Amnesia

Collective Amnesia

Asche für Paul Celan, the monumental sculpture by German-born artist Anselm Kiefer is now on view at the OJAC. 

Over a 60-year career, Kiefer has consistently confronted his country’s collective amnesia related to WWII and the Holocaust. As early as the 1960s, Kiefer began challenging this question of collective memory loss by the German people in his art and it remains a central aspect of his work. His earliest works related to the subject were extremely controversial, yet necessary.

Kiefer’s work lends itself to multiple interpretations. Yet it must be noted that the artist’s thoughtfully selected materials and visual elements are often symbolic. The U-boat references the Nazis’ objective to achieve world domination and genetic purity, resulting in its own physical and psychological damage to millions. The lead references the alchemists’ quest to transform the malleable metal into gold—believing gold was a spiritually perfect metal. And finally, the stacked lead books remind us of our often-discarded knowledge of history. All are acts of futility and folly.

Since the work has been on view, I’ve been thinking how often individuals lay exclusive blame and point fingers at other countries or cultures for their misdeeds, cruelty, or unfair laws without considering their own. The United States fought a civil war over 150 years ago and we are still dealing with its impact and history. Some people want to forget it completely and others choose to enshrine certain aspects. Perhaps by acknowledging and questioning issues that we often ignore, like Kiefer, we can find common ground to use history constructively. Otherwise, our conflicts and ignored past begin to stack like inaccessible books, burdening our attempts to move forward. 

Patrick Kelly

Director & Curator of Exhibitions

Dr. Dog Dispenses Comfort and Wisdom to the Afflicted

Dr. Dog Dispenses Comfort and Wisdom to the Afflicted

Today I thought I would share one of my favorite, tiny pieces in the OJAC permanent collection.

But don’t let its size fool you! It’s chock-full of surprises.

This sculpture is titled “Dr. Dog Dispenses Comfort and Wisdom to the Afflicted” and was created by Taos artist Melissa Zink in the late 1970s.  

Melissa Zink was born in 1932 in Kansas City, Missouri. She attended the Emma Willard School, Swarthmore College, the University of Chicago, and the Kansas City Art Institute– which was a feat for women during the 1950s. While she was in art school- abstract expressionism was the most popular genre of the moment. Zink could not relate to that style whatsoever and was constantly put down by her art teachers for not “fitting the mold.”

All this discouragement during her education made Zink give up art- and instead, she went to work at her custom frame shop that her family owned back in Kansas City. By 1970, Zink wanted a change of profession and scenery. She and her husband moved to Colorado where she opened a needlework shop. It was there she found independence and a new sense of self, divorcing her husband who was quoted to have “never understood or encouraged her artistic yearnings.” 

In 1975, at age 43, Melissa married Nelson Zink and they moved and settled near Taos, New Mexico. While in Taos Nelson asked Melissa what she wanted to do with her life. She pulled the covers over her head and whispered “I want to be an artist”. Her husband soon discovered clay beds by their house and began making pots. Melissa tried her hand at traditional pottery forms but found she was gifted in sculpture. It was here that her art career began. 

Melissa began to create intricate clay scenes, narrative scenes that told stories through layers of details! These sculptures might reflect a recognizable figure or scene- but nothing entirely realistic, usually with a touch of fantasy- or with whimsical flair. She always said of her work: “I felt I was not gifted, and had never understood that I could develop skill- But that one doesn’t have to be born with it. I make what I love — museums, magically sealed containers, animals, pots, secrets, surprises, the history of people.” Later in her career, Melissa would create not only in clay, but also in paint, mixed media, and bronze. 

Here at the OJAC, we have a few works by the artist, but this piece was created fairly early in her career. At first glance, it might appear to be just a simple box, but opening it reveals an entire little world! We find ourselves in a tiny, cluttered doctor's office. The doctor, “Dr. Dog”, seems to be wearing a sort of mask. At first glance, it reminded me of those old-timey crow masks that black plague doctors used to wear! As he is turned and looking at us, the audience- it almost feels like he is beckoning us to step inside his space.

It feels cluttered in here, cluttered but cozy. It feels like I could get lost in this imagined world- surrounded by all the tiny clay details. It really gives the vibes of a dollhouse library or the feeling of stepping inside a book. Actually, a lot of Zink's work was driven by her love for books. She once said, “Everything I find most beautiful and moving is in some way connected to books.” This scene really does feel like it has been inspired by literature. Personally, it makes me feel like I am reading “City of Embers” again. Does it remind you of something you have read before?  If anything, this tiny sculpture certainly provides a familiar and comforting feeling- a bit dreamlike and whimsical- with an element of surprise and fun.

Kirsten Hahn

Family & Public Programs Coordinator

Behind the Scenes

Behind the Scenes

So much goes on behind the scenes at a museum. Temporary walls are constructed and later torn down. Text is affixed to walls and later scraped away. Pedestals are arranged and then removed to be returned to storage. Lights are adjusted and re-adjusted. Art is moved and shipped and stored. Objects are arranged with thoughtful precision.

The much-anticipated Anselm Kiefer sculpture, Asche für Paul Celan, arrived on Thursday, September 8. Weighing in at 2,989.50 pounds, it took three OJAC staff and two fine art shippers to unload its four crates from the climate-controlled truck with the help of a pallet jack, J-bar, and multiple four-wheel carts. First, the artist’s concrete rubble was laid on the floor like a mattress to support the boat and hold it in place. Next, the crate with the 13-foot lead boat was rolled in alongside the rubble and the boat was carefully eased onto the floor by hand. Next came the seven lead books, which were arranged and stacked according to the artist’s specifications. Finally, more concrete debris was placed on the floor surrounding the boat. The installation took a team of five, two hours to complete. Next, lights will be set, scuff marks removed from the floor, and an informative text panel will be installed on the wall.

 

I can describe it, and offer images of Kiefer’s work, but it, like all art, is meant to be seen in person. I encourage you to come experience this monumental work. Forget all the logistics of getting it here and take a moment to sit quietly amid its presence.

 

Asche für Paul Celan will be on exhibit through May 20, 2023.

Amy Kelly

Registrar

Marge Sedwick Key Bray (1924-1994)

Marge Sedwick Key Bray (1924-1994)

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.

 That first performance was such a success and inspiration that an enthusiastic community requested another performance, as well as the chance to participate themselves.  Renamed the Fort Griffin Fandangle, the show became a much anticipated community event, with each show growing bigger than the last. As the work associated with the show increased, key figures became indispensable to its production.

A lifelong resident of Albany, TX, Marge Sedwick Key Bray was born on August 23, 1924 to parents John H. and Marguerite Sedwick, who were one of Shackelford County’s pioneering families. While attending Albany High School as a freshman in the year 1938, she performed in the original production of Dr. Shackelford’s Paradise.  

After graduation she attended college at Christian College in Columbia, MO, where she received a two-year degree in ballet theater. Bray would then go on to earn a bachelor’s of arts from the University of Texas.  

First married to Albany native Ray E. Key, Bray became a widow after he passed away in the midst of a nationwide polio epidemic in the late 1940s. In order to help support her two young children she opened up a studio in 1950, where she started teaching ballet, tap and jazz dance. Though she later married bank officer John W. Bray, she never gave up her passion for teaching dance. Bray taught hundreds, if not thousands, of children over 40 years of instruction, many starting at age three and continuing through high school age. Her positive impact on generations of Albany children cannot be overstated; her ability to instill confidence and self-esteem while learning were unmatched.  

After participating in the original production, Bray continued to dance and preform in the newly renamed Fort Griffin Fandangle after high school and later became choreographer and assistant to original creator and director Robert E. Nail, Jr. After Nail’s death in late 1968 she served as assistant director before being named the show’s director in 1974.  

Under Bray’s nurturing hand, the Fandangle grew and flourished. She would continue to serve as the director for 20 years, overseeing not just the summer production, but also leading numerous additional performances, including the annual membership samplers at home, as well as more far-flung samplers at the LBJ Ranch and at the State Fair of Texas.

Molly Sauder

Archivist & Librarian

Richard “Colonel Dick” McCarty (1857-1945)

Richard “Colonel Dick” McCarty (1857-1945)

Richard H. McCarty was born in Meigs County, Tennessee in 1857. His family came to Texas when he was young and settled in the Gainesville area, where he made his home for about 28-30 years. He would later go on to marry Margaret L. Robinson on November 6, 1984 in Montague of Montague County.

When the Spanish-American War broke out, he volunteered and served from April 1898 to April 1899. After the war, Mr. and Mrs. McCarty came to Albany, where Colonel McCarty was admitted to the bar as a lawyer and then elected county attorney in 1900. Soon after in 1902, he bought out the Albany News and began his newspaper career. He edited the newspaper until 1907, when he sold out and started newspaper work for Weatherford & Aspermont for a few years. During this time, he also served as secretary of the Cisco Chamber of Commerce. He was most known for running a large ad in the Cisco paper that read “Dam the Canyon!” As a result, 10 years later, the canyon was dammed which led to the creation of Lake Cisco.

In 1917, McCarty returned to Shackelford County and bought out the Albany News once again and also operated a moving picture show for a brief period of time. During this time, his unique style of writing and his expressions of wisdom grew popular. With this, by the 1920’s, the Albany News was one of the most quoted county weeklies in the United States. McCarty was also credited with coining the phrase, “Albany, Home of the Hereford,” which made Albany known by tourists from near and far.

By 1931, McCarty had lost most of his vision and was not as active in the newspaper after this. However, he continued to write strongly until 1942. He later became bedbound and spent three years in the Veteran’s hospital in Waco, Texas, where he later passed away in 1945.

McCarty fought for what was good and right for Albany and Shackelford County. He fought using demands and campaigns he wrote for the newspaper. These eventually led to Shackelford County receiving better roads and also led to Albany gaining a better water supply. Due to his efforts towards better water, Lake McCarty was named after him, to honor his death and his efforts.

 

Sarah Nicolaysen

Summer Museum Studies Intern

Summer Camp Snapshots

In the museum Education Department, we just wrapped up a fantastic month of Student-Day Camps!

For over 25 years, we’ve looked forward to these special programs each August- each theme inspired by the artwork, artifacts and exhibitions of the OJAC.

Here are a few snapshots from the past few weeks!

At Cultural Connections Camp we explored the art, history, food, music and games of Ancient Greece! Students enjoyed a mini-olympics including astragaloi (a knuckle-bone game similar to jacks), the stick and hoop race of trochos, and bobbing for the Golden apple!

During snack-time, they tasted Greek flavors of feta, olives, grapes and baklava!

Lastly, they created Greek pottery, tile (bean) mosaics, patterned columns, and a golden lyre instrument inscribed with traditional patterns and their own Greek initials!

At OJAC Safari!, students enjoyed a WILD day inspired by animals in the museum's collections.

Campers donned Safari gear and explored the museum galleries on a hunt to “capture” each animal of a scavenger!

Next, they enjoyed Jungle-inspired games including a vine crawl, watering hole match, coconut bowling and a critter track-walk!

At snack-time, they snacked on tiger tangerines and python cookies.

Lastly, they crafted collaged toucan mobiles, marbled tiger tapestries, monkey rain-sticks and tree-frog fly-catchers!

At Things on Strings Camp, students enjoy Kinetic Puppetry inspired by global cultures represented in museum collections! (This amazing day-camp has been led by artists in residence Charlie Rose and Dan Peeler for over 20 years!)

This year, students created shimmering, emoting stick puppets inspired by ancient Greek theater figures of Comedy and Tragedy.


These weeks of camp are always such a special time of fun and creativity before the start of the new school year- and I think our staff feels as inspired as our campers as we look forward to fall programs!


Hannah Rankin

Student Outreach Instructor

Celebrating Moon Day!

Did you know that national Moon Day is celebrated this week?

It was on July 20th, 53 years ago that man first set foot on the moon. This landing, as well as the Space Race that followed, are recognized as one of the greatest human technological achievements.

But long before these 20th century events, the moon held an important role across all societies and cultures.

The curiosity of its consistent presence, the simplicity and sequence of it’s form, the reassurance found in its reflection of the passage of time. It has inspired curiosity and creativity for thousands of years— the subject of music, myth and visual art for all of recorded human history.




Just a short walk through the permanent collections of our small museum is a testament to the influence of this orb on the visual arts. There are dozens of works just in our collection which reference lunar imagery. And in honor of this remembrance day, I thought I’d share a few of my favorites:

“Moon Ring 3” is a sculpture that seems to welcome visitors to our museum. It was sculpted by Jesus Bautista Moroles in 1982, and stands near a fountain at our front facade. Carved from Texas Pink Granite, it reflects three vertically stacked, moon-shaped holes. Though a symbolic and abstracted work, it easily reminds of the phases and passage of time. (It’s also a selfie favorite with visitors as each moon seems perfectly “face-sized.”)


My favorite moon of the collection might be “The Night is Down Upon Us” by Veronica Helfenstellar. It is a mixed media painting of a cozy, nocturnal scene. In the foreground we find a small cottage with a candle burning in its doorway, and a tree with branches reaching towards the heavens. A woman stands alone at lower left. The muted tones and soft lines of the work give a cozy and dreamy vibe that appeals to me.


“February 28th, 1877 #7” by Jeffery Brosk might reflect the moon most connected to our museum. Though its form and size feel sculptural, the work is a bold painting of black stain and gold leaf on cherry wood. The artist used local historical records to paint the moon from the perspective of a prisoner housed in our original jail building. Through this work we are transported back to the night of February 28th, 1877, as a golden moon shines through the dark, narrow windows of its upstairs cells. (Now a contemporary gallery space.) Understanding that context certainly adds to the power of its visual contrast.


Perhaps the most recognized moon of our collection is “The Path Into the Blue” by Paul Klee. This oil and encaustic depicts a nocturnal landscape and moonlit path. It seems to show a new, rather than full moon, and reflects a more emotional than realistic rendering of the subject. The simple abstraction of the scene as well as its deep, cool tones inspire a feeling of peace and solitude.


The are only a few of the many celestial views waiting for you in our collection!

So, in celebration of Moon Day and these long, summer nights, I hope you’ll visit our many moons in person soon, or explore via our online catalog.


Kellie Bellah

Visitor Services Associate

Standing Plans

Standing Plans

This week, I thought I’d spotlight one of my favorite pieces in our current exhibition, Technicolor Summer.

This acrylic painting is titled “Standing Plans.” It was created by artist David A. Cook in 1988. Standing over 7 feet tall, it’s the largest work of art in this exhibition, but besides it’s impressive size, I think there are three elements that make this composition engaging: negative space, contrast, and placement. 

Negative space is basically all of the empty room around an object. So, for example, if you see a photograph and ¾ of the photo is just of the sky, that photo might be said to have a lot of negative space. Cook utilizes this element with all of the empty space surrounding the legs. With nothing to distract in the background, it draws our focus to the two subjects in the foreground and it makes them really pop and stand out.

Another important component of this painting is contrast. The two subjects here-  one big and one small-  have highly contrasting scales and colors. The legs are portrayed as huge and very boldly yellow, while the image of the highway overpass is small, dark, and entirely monotone. This contrast of size and color makes it feel as if two images kind of fight each other visually. Almost like an entirely different work of art has been collaged on top of another instead of part of the same painting! This visual disparity may encourage the viewer to brainstorm a possible non-visual connection between them. I found myself wondering about context and artist intent. 

Overall I think the element that impacts this composition the most is placement. The artist could have chosen to put the small, monotone image anywhere in this painting, but Cook placed the monotone overpass directly over the knees. Was there a reason for that choice? I started brainstorming about connections between roads and legs, about movement, direction, and change. I wondered if the overpass represented something dark like a bad memory or emotion you’re trying to move on from or a visual of knees locking in terror. I don’t know the meaning behind this placement, but it feels intentional enough to be important. 

Honestly, we don’t have a lot of information regarding Cook’s intent, but it’s definitely fun to just sit in front of this giant work and brainstorm the choices behind its fun and super engaging composition.

Kirsten Hahn

Education Programs Coordinator

Berryhill School

Berryhill School

In celebration of the nation's birthday, the Archives is sharing an artifact from our collections that is appropriately patriotic! This American flag used to hang at the Berryhill School in Shackelford County.

For those who might not be familiar, Berryhill was a small community on a country road just east of Farm Road 142 near the Ivy oilfield in the northwest corner of Shackelford County. The community of Berryhill was named after land agent J.B. Berryhill, who purchased a large tract of land (about 3 square miles) from the Swenson Land and Cattle Company in the late 1800s. Mr. Berryhill in turn sold parcels of the land to ranching families who moved into the area and named the community after him.

The first Berryhill school was originally made of wood and was located on the Cyrus Reves homestead. It burned early on and so the community decided to rebuild the school - this time moving the location about a mile north and using much hardier limestone. In 1938 the Berryhill school served 39 pupils and had three teachers. Most students would attend through the 4th or 5th grade before moving on to the Lueders school for the rest of their education. In fact, the Berryhill school was later officially consolidated with the Lueders school in the 1960s, but the old stone school building remained standing and was occasionally used for community functions or even local family reunions through the 1980s.

Portions of this blog are courtesy of Jewellee Kuenstler, whose family originally homesteaded at Berry Hill and still live there today.

Molly Sauder

Archivist and Librarian

Simple Acts

Simple Acts

A recent gift to the OJAC’s permanent collection has not only an interesting backstory, it is sure

to provide topics of conversation for generations of museum visitors.

First the backstory. In 2014 the OJAC learned it was one of several beneficiaries of the estate of

Dallas art collector Sonny Burt. Even though my own art work was represented in his collection,

I’m still not sure how the OJAC became a beneficiary of both works of art and a financial gift.

Regardless, it was a pleasant surprise and extremely generous of Sonny Burt to include our

institution in his will.

The OJAC, along with one other museum, was allowed to select six works of art from the estate.

We selected works by outstanding Texas artists—all but one not previously represented in our

collection—including the Art Guys, Earl Staley, Joseph Havel, Kirk Hayes, Sam Gummelt, and

Trenton Doyle Hancock. Regrettably one work (actually there were many) that I passionately

wanted, but that did not make our short list, was a large piece by Mel Ziegler. The works not

selected, include Ziegler’s, were later consigned by the executors to Talley Dunn Gallery. During

my visits to the Dallas gallery, I would admire the work and regret not including it in our

selections. After numerous hints over the years that the work would find a good home at the

OJAC, Talley Dunn and the Estate of Sonny Burt generously elected to gift the work to our

museum. Honestly, I was shocked that another art museum had not purchased the work…their

loss, our gain!

Mel Zielger’s work Untitled (#2), 1999 is currently on view (summer 2022) for the first time at

the OJAC. My next blog will explain my attraction to Ziegler’s work and try to explain how a

simple act of stuffing an antique display cabinet with straw is so brilliant. Stay tuned, but in the

meantime come see the work while it’s on view.

Patrick Kelly

Executive Director and Curator

Summer Camp Season!

Summer Camp Season!

This Summer at the OJAC, we are excited to continue both On-Site and Virtual Day-Camp experiences for your 6-12 year olds!

What camp format is best for your student?

ON-SITE CAMPS

Day camps will convene on-site at the museum from 10 a.m. to 3 p.m. Led by your OJAC Educators.

Campers explore collection artwork and artifacts, enjoy themed games, snacks and activities, and create multiple artworks of their own!

Registrants bring a brown bag lunch.

VIRTUAL CAMPS

Daily Camp Videos will post @ 10 a.m. on our Facebook page, including step-by-step crafts and activities by your OJAC Educators. 

After Camp Video is posted, registrants may “camp” from home, any time at their convenience.

Camp Kits (including each day's supplies and materials) will be mailed to address provided by registrant.

Kits will include a special password for access to that week's camp videos.


And now a bit of info about our Camp Themes and Activities..

Cultural Connections: Our annual investigation of art, food and games from around the world. This year we will explore ancient Greek culture!

Designed for Grades 1-6

reCreate: A day for artistic re-Use of found and re-Cycled materials!

Designed for Grades 4-6

Things on Strings: A Marionette and Kinetic Puppetry workshop inspired by global cultures and artifacts from the museum collection!

Designed for Grades 1-6

OJAC Safari: A wild day of crafts and games for early-learners, inspired by animals of the museum collection! Designed for Grades 1-3

And as always, our Summer Art Camps are always FREE for museum members. Only $15 per camp for non-members!

REGISTER BY FRIDAY, JULY 1ST to reserve your student’s spot for these fun and unique camp experiences!

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Hannah Rankin

Campus Outreach Instructor

Meaning Through Making

Meaning Through Making

Our Family Studio Zone is a place for our student and family visitors to create together during their museum visit. Activities are designed for families with school-age children to make meaningful connections with the museum and its current exhibitions through the creation and display of their own artwork.

Our current activity encourages the creation of clay animal effigy vessels, inspired by those on view in the exhibit, Ancient Americas in a New Light.

Before creating, families are first encouraged to find and explore the display of ceramic animals in this gallery. These ARTIFACTS were created long ago, by people who lived in what is now Central and South America.

We call these clay artifacts Animal Effigy Vessels because they were made in the EFFIGY, or likeness of an animal (made to look like them). The people who created these Effigies lived where the animals lived and saw them so often that they were able to render them with lots of fun detail!

As a family, count how many different animals you are able to identify! Do you find a turtle or a condor, a fish or a snake?

Encourage children to search for an element that each of these vessels have in common. (They all have a SPOUT so things can be poured in and out!)

Each of these Effigies are HOLLOW (meaning they are not solid, but empty inside like a pot or vase!) We might assume these whimsical vessels were created to hold liquid or pourable foods like rice or seeds. Perhaps they were created for everyday use, or maybe they were made for a special occasion, such as special placement at a ceremony.

After a close inspection of these Clay Critters, families are encouraged to make their way to the Family Studio Zone to create their own clay Animal Effigy Vessels!

Using a choice of natural clay tones, they may sculpt their own, hollow vessel inspired by animals of the exhibit or their own liking! All materials and tools are provided, as well as an iPad with visual, step-by-step instructions for the activity.

When creations are complete, feel free to take it home OR display on our shelves for other museum visitors can see!

Finally, we encourage families to drop by our Take-Home Activity Trunk as they leave the museum gates, to enjoy more creative crafting at home!


Kirsten Hahn

Family & Public Programs Coordinator




[Techni]color Our Collections!

[Techni]color Our Collections!

In conjunction with our Summer Exhibition, Technicolor Summer, I thought this would be the perfect time to remind you of our new Collections Coloring Book!

Offered in both print and digital/printable format, this little book is a great opportunity to explore the museum through its paintings, prints, sculptures and cultural artifacts!

Students and adults alike will enjoy adding their own, unique twist to the classics through color, pattern, text or texture!

Purchase below to download, or swing by the museum to pick up your pre-printed copy today!

[Printed, physical copies come with a free color pencil set!]

After your creations are complete, post and tag us on your social media using:

#ColorOurCollectionsOJAC

Erin Whitmore

Education Director

OJAC Collections Coloring Book [Download]
OJAC Collections Coloring Book [Download]
$3.79
Add To Cart

Cactus Land

Cactus Land

The summer heat arrived early this year and the west Texas cactus are in full bloom. It’s the perfect time to introduce you to artist James Malone and one of my collection faves. 

Malone was born in 1943 in Savannah, New York. He studied first at the State University of New York, and then later received his graduate degree from TCU in Ft. Worth in the early 70s. As you might imagine- with an art career that spans half a century, Malone has now worked in a wide variety of media: Graphite, watercolor pen, pen and charcoal, collage, opaque acrylic paint, and wax.

The two mediums that grabbed my attention were his use of thread and fire! As a child, the artist’s mother taught him how to sew so he could craft his own holsters for his toy guns. And in his work today, he will often create an image with graphite or paint, then embellish the finished work with colorful hand stitches. Malone has also been known to create images by burning lines into paper with a magnifying glass!

Now of all his subject matter, Malone is probably most well known for his landscapes of the Big Bend Region of West Texas. Many of his works include recurring western imagery, patterns, and metaphor. His work is extremely detail-focused, and when you observe a piece from a distance, you might mistake it for a photograph! I know I did when I first saw this work from our permanent collection, entitled “Cactus Land.”

This drawing of prickly pear on a rocky ledge was made with graphite- except for the blossoms of the cactus, which were created with red crayons! (That fun fact, by the way, makes this piece a tour favorite with our youngest visitors who are always surprised to discover wax crayon used in artwork on exhibit at a museum!)

That red wax feels so important to this work- the blossoms absolutely POP in contrast to the stark and rocky scene, rendered in monotone detail. 

Now as detailed and realistically rendered as many of his works may be, the artist has expressed that his work is often more reflective of his memories of the feelings these places invoked.

And in observing his work, I think many of us can relate. 

I know his pieces definitely remind me of my own:

-Family trips to Big Bend as a child.

-The first time I saw a flowering cactus in the wild- shocked to discover that they actually bloomed!

-Looking up at the West Texas sky to see constellations spread out in every direction. 

-Even Malone’s historical marker series takes me back to long Texas road trips–stopping every 2 miles on the highway to learn about the area.

So many of his works feel like a communal, visual record–  reflecting emotions and experiences that so many of us share of our State.

Kirsten Hahn

Family & Public Programs Coordinator