Eat Art Index
Museum Fishing + Pan Flashing in Fort Worth
Kathy and I were
exhausted after seeing and hearing The
Quest for Immortality: Treasures of Ancient Egypt three
times through during the press opening at the Kimbell — once
with the audio tour that kept jumping into the whiz-bang
kiddie version of the Raiders of the
Lost Arc; once by ourselves; and then one long time,
during which the crowd dwindled from nearly 50 press persons
to fewer than a dozen by the time we reached the computer
reproduced tomb near the end, (above).
The tour was interesting if abundantly detailed,
repetitive and somewhat reminsicent of JR's recent, press opening
tour of the Winslow Homer fishing
show. (See below.) at the Amon Carter.
an Egyptian symbol of stability
We both thought the Kimbell show might be a better
bet for a natural history museum, although some fine pieces
At the Amon Carter, Homer's watercolors are superb,
technically varied and supposedly the best of that genre ever.
But the tour was largely about fishing, which that youngish
curator had taken up seven years ago, and she was still very
much in the glow of her fascination with the sport. It showed.
Winslow Homer - Bass,
watercolor over graphite on paper
Note the lush, iridescent colors that
disappear minutes after the fish leaves water.
I didn't learn all that much about the art nor
craft of the Homer's personal paintings — and I had hoped
to, but I heard way too much about fishing. Which, I suppose,
is a handy post to hang the PR hopes for the show on, since
anglers are supposedly a fiercely loyal and supportive bunch.
But one of the sheer joys of fishing is that doing it is sufficient,
and talking about it superfluous. Though not always, of course.
We'd not been invited to these press openings
till recently (after Kathy the PR Lady insisted that we formally
inform them of DARts' existence), so JR's been careful to attend
any that seemed even mildly interesting, just so we'd get invited
back — in case some really interesting show comes along.
The still elusive notion of touring new shows
before the public — or even most of the private — crowds
gets to see them — especially going through them at our
own pace, solo — and getting to take pictures along the
way — holds mythic promise to the editor of this E-rag.
Besides, it's a public way of seeing the mysterious
publicity machine of what I still believe are Dallas' best
art museums. Which have always been in Fort Worth.
Ty Milner - Benny
oil on linen