As I heard my teaching partner Skipper Bennett describe this museum the other day, The Amon Carter Museum of American Art is “an exquisite little jewel-box of a museum.” I explored that jewel box again as we visited the museum with a group of 6th graders from Travis Elementary School this week. I found some new gems inside.
The building, designed by Philip Johnson, is a work of art on its own. But for the next two years, the building atrium is graced by a lovely installation work by Dallas-based Mexican artist Gabriel Dawe, Plexus no. 34, 2016. What fun to see the open-mouthed astonishment of our students inspired by this ephemeral art work.
A soft web of over 80 miles of sewing thread is on display in the changing light of the atrium. In my head the colors sang to me, sounding like the whispers of wind over a harp.
With a little over one hundred students in two separate tour groups, the Museum Educators split our students up into workable groups of eleven or twelve and went on a 90 minute tour. The trip combined the study and writing of poetry and how it can be inspired by art. So with a dual purpose, our students got a lot of mileage out of those 90 minutes.
One of the second gems on the trip was our students’ access to the Amon Carter’s research library, which I had incorrectly assumed was only available for scholarly research. The library was manned that day by Archivist and Reference Services Manager Jonathan Frembling, who was absolutely wonderful and friendly with our students, showing them Josef Albers color plates and Calder pieces and reading poetry with enthusiasm and great feeling. He said something that stuck with me, “Writing is your chance at a kind of immortality, the words you write may live long after you are gone.” What a great way to talk to students and a key concept when art work (visual communication) and poetry (written communication) are compared and combined . Our students separated out and wrote poetry, then read it aloud. It was a nice moment.
He invited us back to bring student groups and offered to put together any research materials we might need to use on a future project or artist. He showed Mr. Bennett and I an original survey of the Grand Canyon, made before photography was available, illustrated with stunning intricate line drawings. I found this part of our visit especially meaningful, surrounded by hundreds of art documents and books beautifully bound in leather and carefully preserved. There is a rich musky scent and feel to a quiet wood paneled room filled with journals and old books that just can’t be duplicated.
As the tour wound through the museum, they made several stops, taking in and writing about a diverse group of artworks, one of which is a newly acquired piece by George Bellows, with a surprising vivid color that was unexpected.
We also stopped at the classic Dash for the Timber, hands down my favorite of the western art in Amon Carter’s collection.
It was a memorable trip, made comfortable and meaningful by the Museum Educators. A special thanks to those Educators, I don’t have all their names. But to Erin Long and Bridget Thomas and all the others, thank you so much. We felt very welcome.