®
DRIVE JENNIFER KIETA WELCOMES SPRING IN STYLE
TANGLEWOODMOMS.COM/AUTOBAHNFORTWORTH
GALLERY NIGHT IN THE GROVE S AT U R D AY | M A R C H 2 8
Embark on an immersive journey into the collection of curiosities and oddities that artist Mark Dion gathered on his travels through Texas.
S A T U R D AY, M A R C H 7 1 1 A . M . – 4 P. M . | F R E E
Join us for this ultimate day to explore The Perilous Texas Adventures of Mark Dion exhibition with of f beat tours, art-making activities, local food trucks, and more during this celebration that is free for all ages! Visit cartermuseum.org/DionDay for the full schedule and additional info. #DIONADVENTURES
spring break at the carter
Tuesday, March 10–Friday, March 13 1–3 p.m. Free. Open to all ages. See how nature and art play together at the Carter! Experience art and storytelling throughout the museum. Create your own adventure with gallery games, art making, and more. Each day will be different, so don’t forget to plan multiple visits! CARTERMUSEUM.ORG/SPRINGBREAK #CARTERART
CONTRIBUTERS’ ® If you were to invest in one Fort Worth artist today, who would it be?
Issue 16 | The Culture & Creativity Issue | Mar/Apr 2020
P U B L I S H E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Wise E D I T O R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lee Virden Geurkink A S S O C I A T E P U B L I S H E R . . . . . . . . . . . Jennifer Kieta ILL U S T R A T O R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trish Wise
A: Jeremy Joel
A: Julio César Cedillo
- Victoria Wise
- Lee Virden Geurkink
A: Ariel Davis, or really any
A: Ginger Ray Walker
A: Lauren & Jason Morgan
- Shannon Lange
- Julie K. Rhodes
A: I’d just buy more supplies and make my own!
A: Trish Wise, of course!
L E A D D E S I G N . . . . . . . . . . . . . . . . . . . . . . . . . Sovic Creative C O V E R D E S I G N . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Wise C O N T R I B UTI N G WRITERS Lyle Brooks
Shilo Urban
Edward Brown
Angela Weaver
Julie K. Rhodes
William Wise
A: Jack Russell of Jackdaw Folk Art - Lyle Brooks
artist with Art Tooth - Edward Brown
CONTRIBUTING PHOTOGRAPHER Shannon Lange
Madeworthy Magazine is an extension of Tanglewood Moms, LLC., and serves to tell community stories for a family audience. For website and magazine advertising opportunities, please contact: Victoria@MadeworthyMedia.com
A: Jay Wilkinson
A: Betsy Crum
- Shilo Urban
- Angela Weaver
- Trish Wise
- William Wise
doors and their walls for artists to display their works. This biannual celebration of the arts has become a tradition in Fort Worth, and people look forward to it eagerly. Madeworthy has participated in Gallery Night for the past three years, hosting pop-up galleries to exhibit some of Fort Worth’s best artists. From our inaugural show, ART HUNT, to this spring’s 1000 Words, we seek to provide our community with an opportunity to experience the art of both established artists and those who are just starting on their artist journeys. This issue’s cover story is about Sedrick Huckaby, an artist and educator whose work is intrinsically tied to his youth in Fort Worth. His art is on display in museums across the nation, and he has won some of the most prestigious art awards in the United States. He teaches art at the University of Texas at Arlington and is turning his grandmother’s house in the Polytechnic Heights neighborhood into “a type of arts incubator in that community.” Read more about Huckaby and his art starting on page 10 of this issue. Fort Worth’s artistic culture doesn’t only embrace the visual arts. Fort Worth’s music scene is formidable and all-encompassing, while theater in Fort Worth has a long and distinguished history. Named for the young Texan who stunned the world of classical music in 1958 and became a cultural diplomat for the United States during the Cold War and beyond, the quadrennial Van Cliburn International Piano Competition features young pianists from around the world competing in an internationally recognized competition. Leon Bridges, Ornette Coleman, Cody Jinks, T-Bone Burnett, Jake Paleschic, Bonnie Bishop, and Abraham Alexander (Madeworthy cover, September/October 2019) have taken Fort Worth to the world. The theater culture of Fort Worth is strong and supportive. Casa Mañana’s Apprentice Program, the Artes Academy at Artes de la Rosa, and Kids Who Care, Inc., strive to teach leadership and confidence while fostering the next generation of actors, singers, and dancers. Among their students is another Betty Buckley, Bill Paxton, or Julio César Cedillo waiting to take their place on the world stage. While young actors are learning their craft, Amphibian Stage Productions is using Shakespeare as a way to help our military veterans unlearn psychological military programming and trauma response, as well as deal with post-traumatic stress, in their De-Cruit program (see Julie Rhode’s article, “Stage Therapy: Veterans Find Healing Through Amphibian’s De-Cruit Program” in this issue). Yes, we in Fort Worth enthusiastically embrace our Cowtown reputation, but we are more than that. We are a community that supports the arts and nurtures creative people of every discipline. We are a city that emphasizes the importance of imagination and inventiveness. We are, as our city motto states, “The Crossroads of Cowboys and Culture.”
Letter from the Editor // Lee Virden Geurkink Dear Reader, We of the Madeworthy editorial staff hope you enjoy this issue. I have to confess, this issue was so much fun to put together. This issue celebrates Fort Worth’s creative side, and I hope you will enjoy learning about some amazing people who are doing incredible things. Madeworthy is proud to support the artistic community in Fort Worth. Since our launch party at Artspace111 in August of 2017, we’ve sought to shine a light on the creatives in our community. To the outsider, Fort Worth may seem like a one-note town. We’re Cowtown. We’re “Where the West Begins.” We’re the Stockyards and the Rodeo, Angelo’s Barbecue and Leddy’s Boots. The idea that Fort Worth is an incubator for exceptional artists creating exceptional art doesn’t make sense to the uninitiated. How wrong they are. We’ve long been the home to world-class museums. The Modern Art Museum of Fort Worth, originally known as the Fort Worth Public Library and Art Gallery, was established in 1892. The Amon Carter Museum of American Art followed in 1961, and the Kimbell Art Museum opened in 1972. These museums are home to stunning collections and host superlative exhibitions each year. However, it’s not just Fort Worth’s museums that are so exceptional. When I said that Fort Worth is an incubator for exceptional artists, I meant it wholeheartedly. Young artists are nurtured here in a way that they might not be in other big cities. A prime example of this nurturing quality is the Fort Worth Art Dealer Association’s Gallery Nights. Twice a year, Fort Worth galleries, retail establishments, and restaurants, along with Fort Worth’s museums, open their 6
photo by Evan Michael Woods
stage therapy:
Your story matters. This truth would set Robin Ludwig free, but it would manifest itself through a very unlikely person: William Shakespeare, the Bard of Avon himself. A proud, self-described “military brat,” Master Sergeant Ludwig followed in her father’s footsteps and joined the Air National Guard halfway through college. She spent the next 18 years serving in medical services, supporting troops deploying overseas, and in disaster situations like Hurricane Katrina. Through it all, she learned an unspoken, dangerous skill: downplay your trauma. While Robin’s position didn’t require as much
by Julie K. Rhodes
VETERANS FIND HEALING THROUGH AMPHIBIAN’S DE-CRUIT PROGRAM
combat training as many service men and women, she witnessed the effects of trauma on her colleagues. Soldiers must be hard-wired to defend with lethal force and neutralize targets. “They use your breath and psychology to respond to threats in a certain way,” she says. “It’s a necessary thing for a job you have to do, but when people leave the military, there’s no undoing of that.” When you add reallife combat trauma to the mix, the mental effects can be profound. According to a 2019 report from the VA, the veteran suicide rate is 1.5 times that of the general population, exceeding 6,000 each year from 2008 to 2017. Enter De-Cruit, a program currently sponsored in Fort Worth by Amphibian Stage Productions, which uses Shakespeare to help veterans unlearn physiological military programming and trauma response. A few years ago, Kathleen Culebro, Executive Artistic Director at Amphibian, went to a New York production of a veteranwritten, one-man play, “Cry Havoc!” The writer and actor Stephan Wolfert (U.S. Army,
’86-’93) combined his personal story of leaving the army and pursuing a career in the arts with Shakespeare’s writings on war. He’s since performed it around the world, and subsequently founded De-Cruit in conjunction with NYU researcher Dr. Alisha Ali, who studies the healing effects of the arts in veterans. Kathleen brought Stephen’s play to Amphibian and hosted the first De-Cruit workshop in 2018. Amphibian has since expanded De-Cruit to a weekly meeting in the veterans’ pod at Tarrant County’s Green Bay Jail and has plans for four public sessions in 2020. “It’s been a whirlwind,” says Kathleen. “It’s like we opened a door, educated ourselves, and then couldn’t close that door back up because we knew so much.” The De-Cruit format is simple: about eight to 10 veterans gather weekly for about eight weeks. Each participant identifies key words to describe the specific experience of his or her trauma and is matched with a corresponding monologue from Shakespeare. “Shakespeare wrote continued on Page 20
FR OM FOR T WOR TH'S FOOD MASTERS MOLE SAUCE
SOUTHERN PIMENTO CHEESE
Chef Christian Lehrmann of the upcoming Sidesaddle Saloon and Tinie’s makes a mean mole, inspired by a recipe from a cookbook he picked up in Mexico when traveling in Guadalajara tasting tequila. The mole recipe is pretty labor-intensive, but it’s definitely worth the effort!
ingredients
2 cups white onion, chopped
4 oz dried guajillo chile
1 cup whole garlic cloves, peeled
4 oz dried ancho chile
1 cinnamon stick
4 oz dried chile de arbol
1 tbs black pepper
4 oz chipotle in adobo
1 tbs dried oregano
4 oz pork lard or peanut oil (lard
2 bay leaves
is more authentic and tastes better)
4 oz milk chocolate
2 cups sesame seeds 2 cups raw shelled peanuts 2 cups raw almonds
You can’t have a restaurant devoted to the best of Southern cuisine and not have an outstanding recipe for pimento cheese. Executive chef and owner James Robert of Fixe Southern House knows this and shares his recipe with us.
ingredients 1 lb. super-sharp, aged cheddar, shredded 1 ½ cups good quality mayonnaise 1/3 cup mascarpone cheese 1/8 cup hot sauce (whatever your favorite style is) 1 tbs roasted garlic oil* ¾ tsp sugar ¾ tsp smoked paprika
4 oz sugar
¼ tsp cayenne pepper
salt to taste
¼ tsp black pepper 1 small jar chopped pimentos, drained
2 cups raisins
Kosher salt as needed directions In a large saucepan over medium heat, toast the chilies until they start to brown, about 4 minutes. Cover with water and simmer for 20 minutes until the chiles are soft. In a skillet over medium heat, heat one ounce of lard and toast the sesame seeds, peanuts, almonds, and raisins. Stir continuously to keep from burning and remove the items from pan when you can smell them. In the same skillet, add one more ounce of lard and caramelize the onion and garlic. Place all chilies, seeds and nuts, onions, and garlic in a blender, and blend into a paste. Using that same skillet, add the remaining lard and the paste from the blender. Simmer on low heat for 20 minutes, stirring occasionally. Add the chocolate, sugar, and spices and cook on low for an additional hour, stirring often to keep from sticking to the pan. This is the base mole sauce and can be done in advance and kept in the freezer. This mole can be used to braise chicken or turkey (add in some canned roasted tomatoes and chicken broth or stock), as a sauce for empanadas, or for chilaquiles.
directions In a stand mixer with a paddle attachment, combine the cheddar, mayonnaise, and mascarpone, whipping until fully incorporated. Add in the hot sauce, roasted garlic oil, and seasonings, beating until well-mixed. Remove the bowl from the mixer and fold in the pimentos by hand with a spatula. Adjust the salt, if needed. Pimento cheese is good on everything from simple saltine crackers to burgers, from fancy homemade focaccia to crudité plates. note Fixe uses roasted garlic oil as a flavoring agent. To make, gently simmer whole heads of garlic in a mild-flavored oil such as grapeseed or canola until very aromatic. Strain. Keep the cooked garlic for use in other recipes (it’s deliciously sweet and spreadable) or discard. The oil will keep in an airtight container in the refrigerator for a couple of weeks.
THE ROSALITA COCKTAIL Glen Keely, also of the Sidesaddle Saloon and Tinie’s, has created a delicious cocktail that, with a little practice, will make you look like you’ve tended bar in the trendiest clubs around!
ingredients 1 ½ oz brandy (Glen suggests Copper and Kings Butchertown brandy) ¾ oz mezcal (Glen uses Montelobos mezcal) ¾ oz cinnamon syrup ¼ oz fresh lemon juice 1 dash apple bitters 1 dash angostura bitters
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directions First, smoke a rocks glass with applewood. To do this, light a few chips of applewood (available where grilling supplies are sold) in a skillet and invert the glass over the smoldering chips. While the glass is being smoked, add all ingredients together into a cocktail tin and shake. Place a large ice cube (or lots of regular cubes) into the smoked rocks glass and strain the Rosalita over the ice. Garnish with an edible flower if desired.
EV ENTS
ACTIVITIE S
Victoria Wise, TanglewoodMoms.com founder and Madeworthy publisher, brings you the top Fort Worth experiences. You do not want to miss these!
Feb 27 – Mar 1
Mar 21
2020 Cliburn Festival : Beethoven at 250: Modern Art Museum | cliburn.org
Fort Worth ISD 2020 Racial Equity Summit: Texas Wesleyan | fwisd.org/page/327
Feb 27 – Mar 28
Mar 26
Endangered Americas: Artes de la Rosa Cultural Center | artesdelarosa.org
etc.: The Art of Nontraditional Sculpture: Amon Carter Museum of American Art | thecarter.org
Mar – Apr 12 Butterflies in the Garden: Botanic Gardens | fwbg.org
Mar 27 – 28 Cowtown Cook-off and Music Festival: Panther Island Pavilion | pantherislandpavilion.com
Mar 28 Hike & Yoga: Tandy Hills | arlingtonyogacenter.com
JOIN TODAY IN FORT WORTH - TANGLEWOOD
photo courtesy of Botanic Gardens
Mar 28 Spring Gallery Night 1000 Words Photography Show: Waterside | edgarmillerimages.com
Mar 1 Smart Phone Food Photography Class: The Table Market | thetablemarket.com
Mar 1 – Jun 14 Flesh and Blood, Italian Masterpieces from the Capodimonte Museum: Kimbell Art Museum | kimbellart.org photo courtesy of Kimbell Art Museum
Apr 5 Open Streets: Near Southside | nearsouthsidefw.org
Apr 4 An Evening with Michael Bublé in Concert: Dickie’s Arena | dickiesarena.com
Apr 4
CALL 682.224.8831 TO SCHEDULE A COACHING SESSION
Mar 2 PROFILEPLAN.COM/FORT-WORTH-TANGLEWOOD 3000 S Hulen St, Suite 127 Fort Worth TX, 76109
Celebrity Lecture Series: Moonwalker’s Daughter with Amy Been: Fort Worth Museum of Natural History | fwmuseum.org
Mar 6
Water Lantern Festival: Panther Island Pavilion | pantherislandpavilion.com
Apr 4 Zoo Run 2020: Fort Worth Zoo | fortworthzoo.org
Go Red for Women Luncheon: Omni Fort Worth | heart.org/en/affiliates/Texas/fort-worth DECORATIVE | PRIVACY | SECURITY | WOOD | ORNAMENTAL IRON, ALUMINUM, VINYL, CHAIN LINK, AND COMPOSITE FENCES
Mar 6 – 8 Fort Worth Show of Antiques, Art & Jewelry: Will Rogers Memorial Center | luxeshowevents.com
Mar 10 – 13 Spring Break Activities: Amon Carter Museum of American Art | cartermuseum.org
Apr 4 2020 Cowtown Great American Cleanup: Throughout Fort Worth | eventbrite.com
Apr 8 Puttin’ on the Pink Fashion Luncheon: Fort Worth Convention Center | texashealth.org
Apr 17, 19 La Bohème: Bass Hall | fwopera.org
Mar 12 – Apr 12 The Children: Stage West | stagewest.org
Mar 14 St. Patrick’s Festival: Crockett Row at W7th | crockettrow.com
Mar 14, Apr 11 Second Saturday Divorce Workshops: Cancer Care Services | secondsaturdayfortworth.com
Mar 17
YOUR NEIGHBORHOOD FENCE COMPANY
Empty Bowls 2020: Will Rogers Memorial Center | tafb.org
Mar 17 The Tyger & The Lamb: Bass Hall | basshall.com
Apr 17 Purple Party 2020: The Ashton Depot | safehaventc.org
Apr 25 Hops and Props 2020: Fort Worth Aviation Museum | fortworthaviationmuseum.com
Apr 25, 26 Fortress Festival: Will Rogers Memorial Center | fortressfestival.com
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photo by Mantas Gudzinevicius and Norsk Media
Mar 20 Igniting a Passion For A Cure: Whiskey Ranch | alz.org
Apr 26, 28, 30
Mar 20 – Apr 5
Apr 30
Matilda the Musical: Casa Mañana | casamanana.org
Zorro: Ridglea Theater | fwopera.org Party on the Patio benefiting the Child Study Center: Joe T. Garcia’s | bit.ly/2sTRLOx
by William Wise
WORDS photo by Edgar Miller Images
F
ascinating people are rare. But once or twice in your life, you will meet a truly fascinating person. Whether as a result of their circumstances, experiences, interests, or accomplishments, they simply stand out. Fort Worth photographer Edgar Miller is one of those people. The son of an oil executive, Miller’s family’s circumstances meant his childhood was spent traveling the globe and living in some of the most beautiful and exotic places in the world. Born in Port Arthur, Miller has lived in Dakar, the Canary Islands, Spain, Singapore, Cairo, Texas, and Alaska, while the family traveled throughout Europe, Africa, North America, South America, and Asia. This peripatetic existence very likely accounts for Miller’s magnetism. Aside from his family history, Miller is a modern-day Renaissance man whose interests encompass both art and science. In fact, he was a pre-med major at Lamar University, and he worked as an EMT on an ambulance. While those experiences ultimately worked to move him towards a career in art, he still dabbles in science. “In 1986, I photographed Haley’s Comet. After that I really got into astronomy as a hobby I can photograph,” says Miller. As for the arts, Miller says he both draws and paints, but he really loves the immediacy of photography. “My father was my biggest influence when it came to getting into photography. Because we travelled all the time, he was always taking photos and teaching me about it. I even broke one of his cameras once when I was a kid.” In 1978, Miller was introduced to the darkroom and fell in love with the process of developing his film and printing his photos. This clearly spoke to his love of science as well. “I was really into chemistry at the time, so that process really spoke to me.” At Lamar, Miller was taught and mentored by renowned photographer Keith Carter. “He was a huge influence on me. Keith helped me to understand poetic imagery and the power of a photograph,” says Miller. “For me, photos are powerful because they help people remember.” Now Miller teaches others how to take photographs that are worth remembering. Having spent several years working and teaching at Fort Worth Camera, last year Miller opened his own studio in the Near Southside. Here he pursues his art as well as commercial photography and portraiture. Perhaps most importantly to the rest of us, though, is that Miller is teaching. He teaches all aspects of photography to the novice as well as the accomplished photogs. He even arranges curated trips to stunning locations like the Palo Duro Canyon and the Davis Mountains, where unique landscapes and fathomless night skies offer endless opportunities for sublime photography of images that are worth remembering. Madeworthy is thrilled to collaborate with Edgar Miller Images on an upcoming photography show called “1000 Words.” Miller will curate the show, highlighting his own works and those of several other photographers. The show will be held at the space next to REI at Waterside and will coincide with Spring Gallery Night, on Saturday March 28th. We are holding an open call for photographers to submit their work to be considered for inclusion in 1000 Words. There is a $15 entry fee and submissions may be made through EventBrite. Search “1000 Words” to find the submission page.
OTHER PHOTOGRAPHERS WHO WILL BE S H O W I N G AT 1 0 0 0 W O R D S I N C L U D E :
Photographer B R I A N H U T S O N captures extraordinary images that are truly works of art. Every one of Brian’s visually stunning photographs tells a story. His use of architectural angles and vivid colors create impactful and insightful imagery. As a published photographer, Brian’s award-winning work has been featured in USA Today, The New York Times, Food Network, ELLE Decor, Men’s Health, NBC, as well as various magazine covers, advertising campaigns, cookbooks, and more. Fort Worth native R E G A N H A L L has lived in Colorado, California, New York City, Austin, and Dallas, but she is happy to be back in her hometown. After earning her BA from the University of Texas, she attended Christie’s New York Auction House Art program, where she received a Master’s in Art History. Regan is passionate about making life beautiful, and that passion is obvious in her photography. Regan enjoys being outdoors where she’s able to photograph nature’s perfect art space. C H I P T O M P K I N S is a filmmaker and photographer based in Fort Worth, Texas. In his work, Chip seeks to translate creative inspiration into new realities for the viewer. Tompkins is best known for his direction of the acclaimed music video “Coming Home” by the Grammy-nominated singer/songwriter Leon Bridges. Chip works to advance poetic storylines using experimental methods. He applies these experiences to every project he takes on, including documentaries, short films, and commercial work.
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photos by Shannon Lange
PAINTS A LEGACY & PASSES IT ON by Shilo Urban
Sedrick Huckaby is one of Fort Worth’s most accomplished artists. His works hang in America’s finest museums. He’s won almost every major art grant on the planet. He’s even George W. Bush’s art teacher. But his greatest achievement is giving voice to the overlooked, overworked, and oppressed through art with a powerful presence and an unshakable belief in every person’s unconditional worth. Huckaby is doing things his way and reaping the rewards of his authentic vision and dedication to his craft. Instead of playing to the market, he creates art from his soul, with a focus that revolves around faith, family, and community. Inspired by his family’s artistic heritage and the African American narrative, the father of three has seized every opportunity to create a successful career. Now he’s giving back to the Fort Worth community that has given him so much. Born in Fort Worth in 1975, Huckaby’s impressive credentials include a Guggenheim Fellowship, a Joan Mitchell Foundation Grant, and a Louis Comfort Tiffany Award – three of the art world’s most prestigious prizes. After launching his professional studies at Texas Wesleyan University, he earned a Bachelor of Fine Arts from Boston University and a Master of Fine Arts from Yale. His paintings can be found the country’s foremost museum collections, including the Museum of Fine Arts Boston, the San Francisco Museum of Modern Art, the Whitney Museum of American Art in New York City, and the National Portrait Gallery in Washington, D.C. Now working as an art professor at the University of Texas at Arlington, Huckaby was named the Texas State Artist in 2018. Huckaby creates captivating sculptures, drawings, prints, and installations. But he’s best known for his richly textured oil paintings. He’s a master of impasto, a robust technique that employs thickly layered paint, sometimes up to three inches deep. It gives his paintings an undeniable weight and dimensionality that complements their complex substance. However, his profound presence imbues Huckaby’s work in every medium and is particularly evident in a set of black-and-white lithographs called “The 99% Highland Hills.” Recently acquired by the Amon Carter Museum
of American Art for their permanent collection, “The 99%” installation drew inspiration from 2011’s Occupy Wall Street movement. It features 101 portraits of Huckaby’s neighbors from Highland Hills, a predominately black community in south Fort Worth. “We knew that the series was virtually unprecedented in the field of contemporary printmaking… as a collective and individual portrait of a local community that explores contemporary meanings of identity,” explains Shirley Reece-Hughes, Curator at the Amon Carter Museum. “Huckaby often incorporated quotes by each of the sitters, which deepens our connection to the image and person.” “The 99%” is a true slice-of-life with a veritable sense of place. With unique poses and preoccupations, the figures ponder everything from world peace to vegetable gardens, allergy season to seven children, prayerful hopes to pork chops for lunch. They share quiet worries, yearn for loved ones, and boast with youthful confidence. Yet shining through them all is the inherent value that they share as human beings, a palpable
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feeling expressed through Huckaby’s detailed strokes. Together, it’s a chorus that sings the story of the community. Little details become potent emotional vehicles in Huckaby’s hands, just as ordinary people are given the acknowledgment they deserve. His celebrated series “Big Momma’s House” captures vivid memories of his grandmother’s home during the final years of her life. Tiny shoes line up by a striped couch. Curling photos frame a mirror with family faces. Crinkled hands rest on an open Bible, peaceful and still beside the scarlet words of Jesus. Huckaby spent many hours in this home as a child. He’d walk over after school, hanging out with his grandmother until his parents could pick him up. “She always encouraged not only me, but all of her kids and grandkids and great-grandkids, in anything positive that they were doing,” he recalls. Huckaby’s other grandmother, Mama Sarah, inspired his monumental painting “A Love Supreme.” Stretching 80 feet long and 8 feet high, this opus elevates to new heights a humble domestic icon: the quilt. “Mama Sarah was the quilter” in the family, he says. Quilts embody familial love and cozy nights, childhood memories of grandmother’s house. They are often handed down for generations; most Texas homes today have an ancestral quilt stored somewhere in a closet or a chest. Like many of us, Huckaby slept under quilts at grandma’s house as a child. Today, quilts are one of Huckaby’s greatest preoccupations as a painter, but they started as an afterthought. “Initially in my work, they were in the backgrounds of the pieces, because [Mama Sarah] gave quilts to all of her children, and so my parents had some. I would borrow them and put them in the painting.” Soon Huckaby realized that his backdrops were artistic treasures themselves. “As I learned more about art… I could see how there were all kinds of creative cultural and aesthetic things that were passed down through those quilts,” he says. Bringing the backdrop to the forefront, he began painting the family’s quilts as a conversation with Mama Sarah. “I saw [quilts] as an art form that she did. I wanted to have a conversation with her, as an artist and as a quilter, about the aesthetic qualities that I recognized in those
pieces — aesthetic qualities that were handed down to her.” Huckaby’s large-scale images of quilts are created with thick daubs of paint that give the heavy folds and patchwork pieces a sculptural quality. His vibrant colors and expressive brushwork call attention to the artistry of the textiles and of the women who made them. “You’ll find different narratives being told through the act of quilt making,” Huckaby explains. Quilts loom large in the story of American folk art, from the Puritans’ functional bedcovers to the decorative textiles of the early 1900s. They evoke the very idea of America itself: many different pieces that come together into a beautiful new whole, each piece connected yet retaining its unique characteristics. For three centuries, women across the country crafted homespun quilts to keep their families warm and to express themselves through their handiwork. Often made with fabric scraps or bits of old clothing, quilts hold the memories of the women who made them. They tell stories about family members and past events, all stitched together into new hope for the future: warm nights for loved ones and happy days ahead. Crafted through hours of painstaking effort, a quilt is much more than a source of comfort. It is a physical manifestation of care, patience, and effort made on behalf of another. A grandmother’s virtue. A love supreme. Deeply woven into America’s cultural history, quilting has a distinct importance for the African American community. “African Americans have a particular connection because there are some quilting forms, like patchwork quilts, that have certain African aesthetics embedded in them,” Huckaby says. “Not only African aesthetics, but they also embedded certain ideas that were a prevalent part of the African American community.” Strip-pieced quilts often featured the asymmetrical patterns, large-scale designs, and celebratory colors of African textiles. Experiences of migration and settlement were expressed through appliqué designs. Quilts are a tangible link to African heritage, as well as a powerful symbol of the community’s ability to patch together the pieces and create something new. With innovative talents for multiple patterning and improvisation, African Americans developed a unique quilting tradition and handed it down, one generation to the next. But long before Huckaby understood the cultural legacy of his family’s quilts, he dreamt under them, cradled to sleep in the unconditional love that grandmothers are so good at passing down. Encouraged by his family, Huckaby’s creative path was further propelled by local art programs that provided training, mentorship, and connections with other young artists. He competed in ACT-SO (the Afro-Academic, Cultural, Technological, and Scientific Olympics) hosted by the Tarrant County chapter of the NAACP. “If you competed in ACTSO and won locally, and your work was up to the right stature, then you could compete nationally.
I did that two years, and that was a wonderful experience,” he remembers. “I met poets and writers, orators and singers and musicians.” Another Fort Worth youth organization called Imagination Celebration introduced Huckaby to one of his greatest mentors, local artist and educator Ron Tomlinson. Huckaby took his first painting classes from Tomlinson in back rooms at the Modern Art Museum. “Ron would take us down into the museum and show us paintings and talk to us about them,” Huckaby recalls. “[He] went on to be a mentor and guide in painting, up until a couple of years ago when he passed away. He was always somebody who I would come back to even after I was an adult, to look at his work and to talk to him about art.” This early mentorship helped Huckaby to hone his natural talents and gain artistic confidence, bestowing another layer of blessings alongside his grandmothers’ encouraging words and love-crafted quilts. Each has passed down to him a legacy that’s interwoven with his artistic values today. Now Huckaby is stepping up to continue handing down the things that have meant so much to him to his students, his community, and his family. He stays busy with his three children, Rising Sun, Halle Lujah, and Rhema Rain. Huckaby’s wife Letitia is a successful artist in her own right, a photographer whose multimedia and textile works also draw inspiration from her family narratives and African American heritage. Together they are bringing up children who are supported in their creative pursuits and interests of every variety, from computer coding and cross-country running to horseback riding and lacrosse. The couple is also passing on the principles that have guided their lives towards the good. “Love God, and love people,” Huckaby says. “Those two things go hand in hand, and I think that’s two of the most important values to hand down. You can’t hate people and say you love God, and you can’t love God if you don’t love people,” he says, referring to 1 John 4:20 – Whoever does not love their brother and sister, whom they have seen, cannot love God, whom they have not seen. Just as Huckaby aims to inspire love in his children, he aims to inspire passion in his art students at UTA. “Inspiring passion is the primary and hardest thing. Once that’s there, everything else is easy,” he says. In addition to teaching art like advanced painting and contemporary portraiture, he also guides graduate students with their independent studies. Certainly, his most famous student is George W. Bush, a late-blooming 14
artist whose oil paintings have been praised by numerous critics. “He’s developed,” says Huckaby. “His journey as a painter is a wonderful thing, because it’s great to see a former president painting. We expect them to write books, and we expect them to do diplomatic things and have speeches, but we don’t expect them to make art.” Huckaby still works with Bush, who will be releasing a new collection later this year. Huckaby’s new endeavors include two public art projects that are fueled by his vision for Fort Worth’s creative community. “As I move forward, there’s more of a social component to the works that I’m doing,” he explains. He’s in the final design stages of “The Last Train,” a train stop-inspired gathering place in the Stop Six neighborhood. Situated at the main intersection of Ramey Avenue and Stalcup Road, the project will feature train tracks and an actual railcar with video storytelling elements. His second long-term project is found a few miles away in Polytechnic Heights at a very familiar location: “Big Momma’s House.” Huckaby and his wife are converting his grandmother’s house into a public art space, “a type of arts incubator in that community,” he says. “We will be reaching out to artists to do community-minded projects, and we’ll be finding ways to reach out to the community ourselves.” Construction is now underway. If Big Momma was still around, “she would speak positively of it and say keep doing what you’re doing.” To see some of Huckaby’s work en plein air right now, head to the Highland Hills Community Center. Situated under shade trees on the south side of the building, “The Welcome Space” was commissioned by the City of Fort Worth. Two colorful benches that appear to be draped with quilts invite passersby to sit and rest. But upon closer look, the undulating folds and patchwork pieces of the quilt are made of concrete and tiles. It’s unmistakably Huckaby’s handiwork, his celebrated quilt images in mosaic form. His portraits are there, too, with cameos of neighbors woven into the design. You’ll also find several of his works at Valley House Gallery in North Dallas, including paintings, drawings, and original prints. But Huckaby’s home is here in Fort Worth, just as it has always been. “Having great experiences with other people in the city, other groups and communities, it leads to some of the things that I’m doing now… I seek to give back, to help, to bring out the beauty in certain aspects of the city,” he says “I guess you could say the city poured a lot into me, and I feel like what was poured into me is what I pour back out now.” Rising from his heart and revealed through his hands, what Huckaby is passing down will no doubt be a driving force of Fort Worth’s artistic growth for years to come.
FLOWER of the NORTHSIDE the
by Lee Virden Geurkink
On North Main, just blocks away from the Stockyards, stands the Rose Marine Theater. Since the early years of the twentieth century, the theater has been the center of its community. Since 1999, the theater has been the home of Artes de la Rosa. When the railroad came to town in 1876, it sparked an explosion on the Northside. As the city moved into the 20th century and families settled in the area, the need for family entertainment grew. In the 1910s, a theater called the Roseland was built on North Main Street. The rise of the Hispanic population of the Northside coincided with the rise of the Golden Age of Mexican Cinema. From about 1935 to 1960, the Mexican film industry alone rivaled Hollywood in terms of production value and popularity. Stars such as Dolores del Rio, Cantinflas, and Katy Jurado captured the imaginations and hearts of people around the world. Marie and Burt Burkhalter, owners of what was now called the Rose Theater, recognized the importance of Mexican cinema to the people of the Northside and brought Mexican movie stars to the Rose Theater. People stood in line for hours for a chance to see their favorite stars in person. The Rose Theater (renamed the Rose Marine Theater in 1943) became the focal point of Hispanic entertainment in Fort Worth. Unfortunately, the end of the Golden Age of Mexican Cinema corresponded with a major downturn in the fortunes of the Northside. The packing plants that employed much of the population of the Northside closed. Businesses all throughout the Northside, including the Rose Marine Theater, closed as the area was rocked by the economic downturn. The City of Fort Worth focused its economic efforts on other parts of the city, neglecting the Northside completely. This changed with the election of the first Hispanic City Council member, Louis J. Zapata. Zapata was a tireless champion of the Northside community, and he understood that the neighborhood needed a focus around which to rebuild. With a grant from the Department of Housing and Urban Development under Henry Cisneros, the City of Fort Worth bought the Rose Marine Theater, and with the support of the Northside community, renovated it. The Latin Arts Association of Fort Worth took over the management of the theater, and the rest, as they say, is history. Under the leadership of William Giron, Artes de la Rosa, formerly the Latin Arts Association of Fort Worth, has reached out past the boundaries of the Northside community to engage with the museums in the Cultural District, the Fort Worth
photo courtesy of Artes de la Rosa
Opera, the Fort Worth Symphony Orchestra, the Cliburn, and the Fort Worth Art Dealers Association. With a background in economic development, Giron hopes to not only diversify Artes’ audience but give back to the Northside community while honoring the neighborhood’s history. Giron is not only championing the artist endeavors of Artes, he is hoping to spark economic growth on the Northside. “We need to build an economic ecosystem in the Northside,” Giron said. “We’re all interconnected – the arts create jobs which in turn creates patrons to support the arts.” To support this goal, Artes hired Sara Herrera as its new Director of Education. A Fort Worth native, Herrera will oversee the Artes Academy and various educational outreach programs. The Academy accepts children from all over the city and aims to build social and communication skills, as well as the self-confidence needed for students to become contributing members of society through practical art education. “I’m humbled and proud to be part of this,” Herrera said. “There are very few groups that not only talk the talk, they walk the walk, and Artes walks the walk.” In 2018, Artes received a Facebook Community Action Grant. The grant allowed them to expand the Academy, adding STEM elements to their art education. The purchase of 20 MacBook Pros gives the students access to the technical side of the arts, exposing them to experiences they might not have in their schools. This, in turn, helps the students realize their potential as adult members of the community. On any day of the week, Artes de la Rosa is showing an artist’s work, producing a play, or hosting a community forum. Right now, they are preparing for two shows to coincide with Spring Gallery Night. Brenda Ciardiello’s “Outsider” and Stormie Parker’s “Endangered Americas” run through the end of March. Once again, the Rose Marine Theater has become a focal point for the Northside community, and Artes de la Rosa continues to honor the Northside community’s past while leading it into the future.
Johann Strauss II’s DIE FLEDERMAUS performed in English!
May 1 & 3, 2020 | Bass Performance Hall FEATURING THE
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What a Wonderful World Earth Day is April 22, 2020
A coloring activity for the youngest Madeworthy Readers
Your Adventure is WAiting
! e tt u B d e t s e r C in
by Angela Weaver Wild Acre Brewing Company started brewing beer in the old Ranch Style Beans factory off East Lancaster about four years ago. Later this spring, they are expanding to a second location on Camp Bowie. What’s next for these guys? I sat down with founder John Pritchett to get the scoop. Madeworthy: How did you get started in the beer business? John Pritchett: I worked for a beer distributor part time while in college at UT Austin and took a job with Ben E. Keith straight out of college… until I decided to pursue starting a brewery of my own in late 2014… I am just realizing as I speak that I have been in beer for a quarter of a century. I have done it all from warehouse work to starting a brewery to serving on the Board of the Directors for the Texas Craft Brewers Guild, and very soon, opening a second brewery with a full-service restaurant. MW: Why Wild Acre? Where did the name come from? JP: At the time we opened, the two largest breweries in town were named after their founders. I started doing some deep dives into Fort Worth history, and came across the Wild Acre, a term for the district more famously known as Hell’s Half Acre in the days when Fort Worth was truly Cowtown… our location is right on the doorstep of that former district… [and] it conjured up images and feelings of wide-open spaces… I think it is Texas to the core. We want people to say it as often as possible!
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MW: With all the breweries in town, what makes Wild Acre stand out? JP: I think you have to be yourself and have deep belief and pride in what you are doing… down to every detailed step in the process of brewing and packaging to the relationships we build with our customers. It all matters in building the tribe that supports our company by drinking our beer… When we develop regular customers, we have stood out to them, and that is what is important to me. MW: I know you have a new location opening on Camp Bowie in March. Tell us about it and what we can expect? JP: For my money, Camp Bowie Boulevard is one of the coolest addresses in Fort Worth. It’s all Fort Worth, and I love that about it. It will be a brewery and full-service restaurant… The ability to serve that same quality of beer in a second location was of paramount importance… To achieve this, we are going to brew at our main brewery, drive it to Camp Bowie, and undergo the two to four week fermentation process [there]... This process allows us to use the water purity system and sophisticated brewing technology in the original brewery and take that show on the road. We hired David Hollister as our Executive Chef… We are going to have a sandwich-driven menu, but it will not be your typical sandwich shop. We are brining and cooking all the meats in-house... Our sauces will be house made. He will even be making sausages and mortadella. It will truly be a scratch deli. MW: What piece of Wild Acre are you the proudest of? JP: Driving onto the property everyday, and just seeing the people working and the equipment in place and operating, etc.… It doesn’t get old. It always brings back memories of what it all looked like before, and of all the hard work it took to get it to where it is today. That always makes me a little proud, but nothing compares to seeing your beer being bought, and receiving a compliment on what Wild Acre is doing, and how great they think the beer is. Do you have any expansion plans in the future? JP: Beyond Camp Bowie, we are working to take over foodservice at the main brewery. With David Hollister on board, it makes sense for us to deliver an all Wild Acre experience to our guests in the taproom… We will absolutely consider an additional brewery and restaurant location, but presently, getting Camp Bowie right is the priority. On a distribution front, we are taking Wild Acre brands to Austin and San Antonio beginning in March… I am super excited about being available in that market. MW: Do you have a favorite beer? Or would it be wrong to pick? JP: A lot of planning and work goes into each one of them. My current streak includes Ranch Style Pilsner, Agave Americana, and our newest release, Juicy Bingo… Every occasion needs the proper Wild Acre beer, right?
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DIFFERENT THAN THE REST
by Lyle Brooks DONALD MARTINY
WALKS THE LINE BETWEEN PA I N T I N G A N D S C U L P T U R E
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Exhibit opens Earth Day, April 22, 2020!
ONE WORLD WHAT WILL YOU DO?
ATMOSPHERE CARBON DIOXIDE CLIMATE EARTH ENVIRONMENT GREENHOUSE
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Much of Donald Martiny’s artwork walks an intriguing line between painting and sculpture; he creates pieces that interact profoundly with spaces and the dynamic language of light that fills them. From his studio in Chapel Hill, North Carolina, Martiny has his art shown all around the world, with two pieces found in the One World Trade Center building. Represented by the folks at Galleri Urbane, currently based in both Dallas and Marfa, his reputation continues to chart a rising course, and this momentum has brought him to the lobby of the Frost Building in downtown Fort Worth. Martiny, who is originally from Schenectady, New York, is a polymath driven by curiosity. It has led him to study extinct languages, work as a script doctor, act as a creative director in advertising, and learn to make his own paints, among countless other surprising stories that continually pop up while chatting with him. While a student at the Pennsylvania Academy of Fine Arts, Martiny began by balancing the twin towers of craft and theory. “I had to learn how to paint what I saw in the museum before I found my way.” From landscapes, he followed his art outside the lines, and that art became a portal into another state of consciousness. By shifting the value of the familiar rectangular frame’s boundary, he allows viewers to experience a sense of timeless wonder. “I wanted to invite a very intimate experience. When people see a painting that strikes them, they want to participate with how it functions.” Commissioned by Laura and Greg Bird, the Frost Tower’s owners, Martiny has created what he says may very well be the world’s longest brushstroke – thirty-four feet of earthy browns and spectacular blues. The painting consists of 36 gallons of handmade paint and runs seventeen feet by twelve feet. The magnitude of the piece required him to work on-site in a makeshift studio in one corner of the lobby. Laura Bird describes it by saying, “This is as close to public art as we will get.” The piece’s title, “Hugin + Munin,” is a reference to the god Odin’s ravens from Norse mythology that also serves as a nod to Laura and Greg Bird. “They have been decisive and enthusiastic throughout the process, which is what you want [from someone commissioning a piece].” Martiny’s initial sketches illustrate an underlying sense of the energy or movement that the work would eventually realize. But the sketching-out process continued from first blush throughout the construction of the work, as he molds the thick paint and fine-tunes the pigments into the ideal chromatic partnership. “I paint very freely, and that free form determines the form of the painting, as opposed to a Frank Stella [piece, which occurs] with a system in mind.” The project took three weeks to plan, and four days to execute. Martiny explains, “I like to be in the paint; it is a very immersive process. More than making a mark, I am moving feelings around. I truly believe that color and form can change our moods, and if that’s the case, they can change our behavior, and ultimately, our world.” Grinding and composing the pigments himself, Martiny uses ultrasound to determine the appropriate consistency and density of color of the pigments he uses. The paint consists of long-chain polymers, approximately 65 compared to the 16 one might find in store-bought paints, which means they adhere potently to one another and allow for a sturdy structure. It took a week for the artist to build the armature upon which the piece hangs. The mounting gives it support while allowing it to hang outward, as Martiny says, “granting a more invasive engagement with the viewer.” Also, the perspective will dance between the light of the lobby’s massive windows throughout a day or from one season to the next. “As it hangs, it will grow stronger.” The value of the art hanging in the Frost Tower lobby offers a dialogue with the history of art itself, melding the artistic intimacy of the brushstroke with the spatial ingenuity of sculpture. Movement is life; the dynamics of a work of art reflect the transitions that we experience as we navigate the coordinates of our varied maps.
photos courtesy of Frost Tower
finding the
in the middle.” In October of 2019, the sisters made their love of vintage clothing a commercial endeavor under the auspices of Daisy Canyon Vintage, an online and pop-up shopping experience. The aesthetic of the hippy-inflected style of Los Angeles’ Laurel Canyon of the ‘60s and ‘70s inspires them. Think back when rock stars and celebrities flocked to the outlaw landscape south of Mulholland and west of the Hollywood Hills. Moving to Austin when they were young, the name of the operation is a nod to the sisters’ combined California and Texas roots. “Once we said it out loud, it just stuck,” Kyndra notes. Running a Free People store further developed her strength as a stylist, intensifying her love of tracking down the perfect items. She’s especially drawn to an era when clothing still possessed more of a sense of craftwork. “All those looks are going to come back again.” As they built the vision for their business, they put together pop-up shops around Fort Worth at Shipping & Receiving and Twilite Lounge with some of their most successful outings coming at The Rustic in Dallas. Moving forward, fans can expect them to organize two pop-ups every month, announcing them through their social media channels. With inventory available through the online store, their current curations are just a click or two away. Their acuity for matching the right piece with the right person is a rare gift. Cierra, who remains in the Austin area, explains, “Working with each other is our comfort zone.” Only a year and a half apart in age, they grew up styling one another and are a natural fit as business partners. She admits that when Kyndra moved up to Fort Worth seven years ago, the vibe of the growing scene resonated with them both. Kyndra’s husband, musician Jake Paleschic, has gotten in on the act as well, encouraging the duo to expand their menswear collection, sweating it out in the thrift stores and estate sales with them. Along the way, he’s become a vintage enthusiast. “The more quality clothing I put my hands on, the more contemporary items from my closet hit the donations bin. My favorite keepers are a pair of Sanforized Wranglers and this 50s-era white fleece Kappa Delta sweatshirt.” Clearing out your closet helps you clear your mind and visualize a new life that might start with a denim jacket from the early 70s. As a sense of style develops, trends are less appealing. Learn to follow your instincts; just buying what the magazines sell leaves you looking like everybody else. As they continue to build their cohesive collection, the sisters love speculating on the lives behind the clothing, often spurred by clues like a purse with a love letter in it. The sisters admit certain pieces are challenging to release instead of keep. Still, it serves a greater good. “We just want folks in Fort Worth to feel comfortable dressing funkier.”
PERFCT LOOK Daisy Canyon Vintage by Lyle Brooks
photo courtesy of Daisy Canyon Vintage
It happens in used bookstores or while digging for records, or maybe it’s the eureka moment of finding a forgotten mid-century modern lamp in an antique shop. Still, most of us have experienced the jubilation of discovery from finding a perfect item cast off from someone else’s possessions. From an early age, sisters Cierra DelRosso and Kyndra Paleschic loved searching for fashion gold amongst discarded piles at thrift stores, antique malls, and estate sales. Those were the duo’s classroom as they developed their sense of style. Kyndra explains, “We were thrifting instead of going to the mall when we were growing up.” Originally from Orange County, California, their parents worked at Disneyland when they were young girls. Their dad did construction and faux finishing on the amusement park’s rides, and their mother worked at the hotel. Style runs in their family, and their folks have always encouraged them to find their own. They are clearly close as they possess a natural ease in conversation. Cierra recalls her earliest memories of falling in love with clothes, “We were always fascinated by our grandmas’ closets, full of what to us were total treasures. I remember one of my favorite things to do as a little girl was wear my greatgrandma’s long silky slip nightgowns and tie them up in the back to fit. There was something truly magical about getting to pick one out and parade around her house every chance I got.” Kyndra adds, “Our mom’s mother was like Brigitte Bardot, while our other grandmother was more like Joni Mitchell, and I found myself right
SONGS IN THE KEY OF LIFE by Lyle Brooks Simon Flory has followed a varied path as a songwriter and musician, ultimately landing in Fort Worth after stints in Austin, Chicago, and the Ozarks of Arkansas. Simon’s one of the finest pickers you’ll come across. He has toured the country on his own and played alongside folks like High Plains Jamboree, Vincent Neil Emerson, and his “Kindie” duo The Que Pastas. Last year’s Radioville was the culmination of a life spent hollering and stomping on stages. He returns this month with Songs from Paper Thin Lines, a short film, and EP painted with a decidedly different brush. Flory will debut both pieces at The Post February 28th with Austin’s Dead Animal and local favorite Summer Dean. Begun as part of a collaborative writing project with a childhood friend, memoirist, and editor, Angela Palmer, the album’s thematic resonance of the common threads that unite the moments of our lives. “She helped me identify the nucleus of what would become the voice over for the film.” An essayistic approach informed the work lyrically. Musically it is rooted in a newfound appreciation for the ambient works of artists like Brian Eno and Bill Frissell, known to take listeners on unexpected sonic journeys. With this in mind, Flory collected field recordings of neon lights, power lines, and bugs along his travels. “We were at Salmon Creek, Texas, at the oldest bluegrass festival in the state. They moved a bunch of old farmhouses out there. A group of
us went exploring and found that one of them had an old piano in it, so I dropped my phone in there to record the sound.” The spacious feel of the EP is colored by a spoken word piece that connects the two elements of the project, recorded at South Main’s Niles City Studios with Joel Raif. When Simon Flory moved to Fort Worth, his friend Dan Stone relocated to Oakland. Stone’s work with modular synthesizers inspired the thematic elements that run through the film. When it came time to record the tunes, Flory headed to the Bay Area for four days to work with his friend. “Dan’s been a bandmate, a roommate, and a running buddy, our friendship made it more comfortable for me to follow my instincts.” The project dates back three years, so Flory was juggling it with last year’s full-length release, Radioville, forcing a choice. “It required some lessons in mindfulness and intentionality.” Eventually, he chose to hold back on Paper Thin Lines to enrich the cinematic quality of the project. The tunes recall the songwriter era of AM Radio in the 60s and 70s and demonstrate the literary elements of classic American short stories. Vibrating like shared memories or home movies might; they carry a unified emotional state. “Relief from struggle is what binds us. I don’t know what else to write about.” The project is grounded with a sublime sense of place in an eight-minute short film, shot by a crew of University of North Texas students, that documents the day in the life of a family in Azle. “We cut the footage in a way that makes thematic sense and allows the songs to enrich the setting of the short film.” They collected images from the flat 40-acres with hayfields and a farmhouse where one can easily imagine having biscuits at the kitchen table. “No matter how hard you try at the beginning of a project to make a master plan, hopefully, something will happen to make you ditch that plan. When I turned it over into personal 20
experience and writing, the process was freed up and became more satisfying and allowed me to say what I wanted to say.” After the debut at The Post at the end of February, Simon Flory will take the work out on tour through places like Lubbock, Big Spring, El Cosmico in Marfa and Austin’s Far Out. Fans can also find him performing frequently around DFW.
photo by Brooks Burris
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during a time of war,” says Robin, who spent many of her service years as a high school English teacher. “His characters were veterans. He was also surrounded by military veterans since it was a time of upheaval. He wrote war beautifully.” Veterans in De-Cruit are from all branches of the military and run the gamut of service in Vietnam, Iraq, and Afghanistan. Over the weeks, De-Cruiters work on their monologue in partner groups. They also write a personal monologue to reflect their individual experience. Physical training for performance is introduced, which works to de-activate the parts of the brain hardwired for fight-or-flight. “The iambic pentameter matches the beat of a human heart,” observes Robin. The workshop culminates in a public performance of both monologues in front of veterans’ invited friends and family. According to Robin, the practice of grounding one’s feet on the stage, making eye contact with an audience, and regulating your breath to perform Shakespeare, has transformative psychological power. “You get through it, and it’s a very empowering experience. It allows you to put a period on the end of your life that has up to this point been an ellipsis.” During her own De-Cruit journey, Robin worked on a monologue from Richard III, in which she was able to declare the iconic line, “Now is the winter of our discontent.” Much like Richard III, who in Shakespeare’s play suffered physical deformity, Robin felt a similar sense of being misshapen: as a woman in the military, she had endured regular degradation, even cruelty, from her male counterparts. Often belittled and humiliated in brutal ways, Robin
learned to play along according to an unspoken code of female behavior. “I just took all that as normal,” says Robin. “But you get to a point after 13 years that THAT starts to impact you.” Owning her pain came slowly. After all, she was a well-trained airman who could adapt to adverse situations. It wasn’t until De-Cruit that Robin was able to access her own story in a productive way. “I was proud of my country, but in the midst of that love, there was a pain. [Shakespeare] put words to my feelings I didn’t know I needed justifying.” To any veteran out there who might be intimidated by a program like De-Cruit, Robin is quick to point out that the program is not meant to be an actor training program, and that you don’t need to have any prior knowledge or education in Shakespeare to benefit. She describes De-Cruit participants having “beautiful ah-ha moments” in the class as they collectively explore the Bard’s immortal words together, despite a wide variety of educational backgrounds and abilities. And, “You don’t have to memorize anything,” says Robin, who is now a co-instructor for De-Cruit. “For those vets who have suffered traumatic brain injuries, memorization may be problematic.” Amphibian has even moved De-Cruit offsite, so vets don’t feel intimidated by being in an actual theater. Since her experience with De-Cruit, Robin has gone on to author a book of sonnets entitled “Disguise Fair Nature: A Military Memoir In Sonnets” and is currently working with other female veterans on a project about their experience in the military. In her chapter entitled, “The Saving Grace of Storytelling With Shakespeare,” she writes:
The uniform I wear will never be a burden to me, just as being female will never be a burden. On the contrary, they are sources of my deepest honor. In the words of Shakespeare’s Hamlet, I “bear the whips and scorns of time, / Th’ oppressor’s wrong, the proud man’s contumely,” for those who serve alongside me. I will stand tall among the ranks of thousands of my Camouflaged Sisters; I will carry their standard when they are too tired and weak to continue. I will be a beacon for those who feel lost at sea, drifting alone in dark waters. May my truth bear witness to our shared story of service, and may you find courage to boldly speak your truth. You are not alone. Your story matters.
photo by Evan Michael Woods
O U R C O M M U N I T Y ’ S M O V E R S & S H A K E R S by Lee Virden Geurkink
2019 was a big year for AlanaKayART! Not only were new products developed, but now, AlanaKayART can be found in boutiques across the DFW area. Selected by the readers of Fort Worth Magazine as Best Artist, Alana Kay (the genius behind AlanaKayART) completed her largest art installation and made her debut at Art Basel, an international art fair held annually in Switzerland, Miami, and Hong Kong. Closer to home, Alana partnered with John Worley to create a giant, Fort Worth-themed painting for National Coloring Day. Children and adults joined the celebration in Clearfork, coloring in a section or three. (The one-ofa-kind piece will be auctioned at the Jewel Charity Ball to benefit Cook Children’s.) In 2020, Alana is excited to expand her lines of fashion, accessories, and home décor, but she is most passionate about collaborating with other creative minds, especially women. Like her art, Alana’s journey is delicate yet truly beautiful.
Fort Worth Country Day (FWCD) has named Alexis Stern as the next leader of its Bass Upper School. A Texas native, Stern holds an Ed.M in Teaching and Learning from Harvard University and a B.A. in History from UT Austin, as well as having 13 years of teaching and leading experience in public, private, and independent schools. “I am most excited about joining an educational community that seeks to support student growth as well-rounded, thoughtful, resilient, and empathetic young adults,” Stern said. “I am inspired by FWCD’s faculty who are committed to their continued growth as educators and their focus on institutional priorities, including a clear commitment to making sure FWCD is a place where all are welcome.” Stern succeeds Steve Stackhouse as Head of Upper School, who will retire at the end of the 2019-2020 academic year. Eric Lombardi, FWCD’s Head of School, said, “Alexis’s teaching and leading experience, along with her passion for teachers, for students, for pedagogy, for school, and for education made her our first choice.” 22
Founded by two Fort Worthians with performing in their blood, the Slaughter Family Arts Awards seeks to “recognize and promote excellence and effort in the fine arts community,” by giving multiple scholarships to high school students. Rebecca and J. Mack Slaughter are former performers. Rebecca is a life-long dancer who performed with the School of American Ballet in New York City, while J. Mack is an actor/singer/ songwriter-turned emergency medicine physician, who in his spare time, runs a nonprofit called Music Meets Medicine. Together with their three children, they are thrilled to be continuing the Slaughter family’s long tradition of philanthropy (a predecessor founded what has become Baylor University Medical Center in Dallas). Awards will be given for Dance, Theater, Music, Voice, and Visual Arts. Proceeds from the awards event will support a student-driven fine arts outreach program for underserved communities.
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influencing with
PURPOSE by the Madeworthy Team
Social media influencers are everywhere. However, not all influencers were made equally. Some use their platforms for more than just advertising themselves. This issue’s Influencing with Purpose focuses on Jessica S. Irvin, a photographer who helps coach others with branding and social strategy.
What made you start your website? I originally created my website as a digital portfolio while searching for jobs in college. Since college, it has evolved into a platform for potential clients, share content, and a personal creative outlet!
How did you develop your photography style? My photography style has slowly evolved over the years. A big part of my style development has been learning what truly makes me happy (bright, vibrant colors) and not settling for more popular, trendy styles.
What are some of your favorite Fort Worth memories? Fort Worth was a huge part of my childhood! Some highlights include the Stock Show and Rodeo (always dressed in my cowgirl best), taking photos at the Fort Worth Botanic Gardens, school field trips at the Kimbell Art Museum, family days at the Fort Worth Museum of Science and History, and many rounds of golf on the city’s municipal courses. I attended Texas Wesleyan University which was the first time I lived in central Fort Worth, which also happened to be a huge time of growth for the small business community in the city (2012-2015).
We love that you are passionate about thrifting. What motivates you to do that and where do you shop for the best finds? Thanks to my mom, I have grown up thrifting and it’s always been a part of my life. My main motivations for thrifting are to be more sustainable and to save money, but I also enjoy finding unique pieces that you’d never find new.
How long have you been married, and what is some advice you would give to newlyweds? Noah and I will be celebrating 4 years of marriage in May. As clichéd as it sounds, I truly am thankful to be married to my best friend! My biggest advice is to prioritize regular quality time with each other, put the others needs before your own (Philippians 2:3-4), and to intentionally pursue each other’s interests and passions.
What was it like finding out you were having twins? After having a missed miscarriage last spring (which we learned about at my first sonogram), we went into my first sonogram of this pregnancy with zero expectations and guarded emotions. While I think it’s safe to say that it still hasn’t completely set in yet: we are absolutely terrified, overjoyed, and beyond thankful to be having twins in the spring!
Living sustainably: how have you done it, and how do you plan on living sustainably as a new mom? It has been a learning process. The big key things I focus on are simply buying less stuff, choosing to buy second hand over new products, and by supporting ethical businesses when I do have to make new purchases. I’ve also slowly been replacing disposable products with reusable options for everyday products like coffee cups, shopping bags, and cleaning supplies.
What are your aspirations for your business? I regularly reevaluate my business aspirations. One constant goal is to empower other women, whether that’s providing them with business headshots, educating them, or just creating great content to help them discover all our city has to offer.
What is some advice you would give aspiring photographers? Shoot A LOT! Producing a lot of content is the best way to gain experience, determine what type of work you do and don’t like, and develop your own personal style. It’s also extremely beneficial to surround yourself with other creatives, even if their work is different from your own.
What’s your favorite book and why? Oh boy, this is a tough one! Some recent favorites of mine are “Educated” and “The Color of Compromise.”
JESSICA’S FORT WORTH FAVORITES COFFEE SHOP - Craftwork Camp Bowie BREAKFAST OR BRUNCH PLACE - FunkyTown Donuts (downtown location if I’m not getting them to-go) HANGOUT WITH FRIENDS - MUTTS Cantina PLACE TO RELAX & RECHARGE - Hammocking in Trinity Park
What political or social issue motivates you to take action? Long story short, I’m an advocate for human dignity. This includes (but is not limited to) criminal justice reform, immigration reform, and acknowledging the present-day implications of our country’s past with slavery and harming many different people groups.
Readers of this publication love their pets, tell us about yours. Our spoiled pup is Pepper, a cattle dog mix that we rescued from the Humane Society of North Texas. We love sitting on local coffee shop patios with her, walking along the Trinity Trails, and meeting up with friends at MUTTS Cantina.
MUSEUM OR GALLERY - Fort Works Art
What is Fort Worth missing?
ARTIST OR MUSICIAN - Mariell Guzman
I would love to see the continued growth of the Fort Worth music scene. While there’s been tremendous growth over the years (primarily thanks to Fortress Fest), we still find ourselves having to drive to Dallas to see a lot of our favorite bands on tour. I hope artists start discovering what a wonderful host city that Fort Worth can be.
YEARLY EVENT - ArtsGoggle and Open Streets BOUTIQUE - Gifted SPOT TO TAKE PHOTOS - The Foundry District SWEET TREAT - Stir Crazy Baked Goods HAMBURGER JOINT - Rodeo Goat MEXICAN RESTAURANT - Taco Heads
photo by Jessica S. Irvin
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photos courtesy of the Amon Carter Museum of American Art
A CULTURAL MISSION
WI THOUT WALLS by Edward Brown
The halls of the Amon Carter Museum of American Art were echoing with the sounds of excited students when I arrived to meet Jessica Fuentes, the museum’s manager of school and community outreach. Fuentes guided me upstairs to show me how a new community-minded project — the Carter Community Artists — is connecting visitors with four local artists in new and unique ways. Standing near Louise Nevelson’s Lunar Landscape, Fuentes described how the sculpture (which consists of discarded objects that are combined into a black, monolithic structure) inspired Carter Community Artist Blake Weld to highlight the work for the museum’s Fresh Voices Art Discovery Guide. The triptych brochure is available free of charge to visitors. Weld’s back page includes a personal message about the work. “It becomes a humbling act to see the beauty in the discarded. I value artists who challenge the way art is made and the types of materials that are used — something that I consider in my own practice,” Weld wrote. Fuentes said the goal of the brochures is to let the community artists speak directly to the museum’s audience. The community artists “may not see every person who comes into the museum,” Fuentes said. “Through this, they are accessible to everyone.” As we traipsed by a crowd of students who were gazing up at an enormous piñata-laden mural by artist Justin Favela, Fuentes described the museum’s already large and growing education program that she and director of education Amanda Blake manage. “We see over 20,000 school students each year,” Fuentes said. “We have gallery teachers who lead the school tours that you see. They are professional educators, and many of them have experience in the classroom.” When Fuentes and Blake joined the museum’s education department two years ago, they began advocating for resources to reach beyond the museum’s walls and into communities throughout Fort Worth. The museum’s leadership agreed and began hiring staff for a community outreach team. Historically, the Amon Carter’s outreach efforts had focused on having a presence at large outdoor festivals and events like Mayfest and the Día de los Muertos Festival at the Rose Marine Theater. Last year, the Amon Carter partnered with eight schools and community centers and visited each group seven times throughout the year. This year, the outreach program has doubled to reach 16 schools and community groups. The Carter Community Artists, which recently announced four new artists, is a natural outgrowth of the museum’s revamped efforts. Last year, Christopher Blay, Lauren Cross, Diane Durant, and Arnoldo Hurtado were chosen for the inaugural class of community artists. Fuentes said those artists were chosen both for their varied artistic mediums and experience working with the
Amon Carter. There are many similarities between how the program’s first year went and how the second run will look, Fuentes said. Many of the projects are developed collaboratively between museum staff and the guest artists. Workshops, lectures, original content for new literature, and neighborhood block parties were just a few of the events that the Carter Community Artists held last year. Fuentes said the first run included around 50 events that reached 2,000 adults and children last year. This year’s crop of artists was chosen from over 20 applications. The museum staff “sat down and sifted through the applications and came to a consensus,” Fuentes said. “Some of the things we look for are artists who are working in diverse media. We don’t want to end up with four photographers. We wanted four perspectives. And then we were wanting to work with artists whose process related to some of the exhibitions so they may be able to add an extra layer of insight.” Beyond Weld, Sarah Ayala, Raul Rodriguez, and Ling-chia Tsai were chosen to represent the museum as community artists this year. Every hour that the artists spend organizing, planning, and working through the program is paid for. Tsai works through a wide variety of mediums. “Her paintings are typically landscapes,” Fuentes said. “She talks about how her paintings are inspired by Chinese philosophy. Ling-chia is a big part of our school outreach programs.” I reached out to two of the artists to learn more about the programs from their perspectives. I frequently run into Rodriguez in the community. He is an active photographer and the founder of Deep Red Press, a blog that features artist profiles and reviews. Rodriguez pitched the idea of taking students into the photojournalistic world of photographer Gordon Parks. “I had students take pictures that were inspired by his works,” Rodriguez said. “We encouraged the students to use basic photographic techniques like the rule of thirds.” Parks used his camera to tell the stories of people who came from all walks of life. To mimic that journalistic approach, Rodriguez had the students approach gallery attendants for informal interviews. “I came up with the idea to approach the gallery attendants and ask them questions,” Rodriguez said. “Some of the questions were, ‘How did you get started working here?’ and ‘What are your hobbies?’” Rodriguez is planning upcoming workshops. One takeaway from the program has been an increased awareness of how much work the staff of large institutions like the Amon Carter put into serving their community. “These programs are impactful, and it takes time to put them together,” he said. “They are 28
extending themselves outside the institutional walls. Having a museum that goes out into the community to provide after-school programs says a lot.” Sarah Ayala recently wrapped up a mural project at the Fort Worth Can Academy on East Lancaster. Working with an underserved community meant addressing how museums are often perceived by individuals from lower socio-economic backgrounds. “A lot of people feel like they don’t have access to those museums,” Ayala said. “They did not grow up going [to these institutions]. It was nice showing them that the Amon Carter is free and accessible. I could see their fears turning as they must have thought, ‘Oh, I can come to this museum. Talking about Georgia Totto O’Keeffe’s works when mostly men were artists was poignant because they were all girls.” Many of the girls expressed interest in pursuing careers as professional artists. Ayala gave them practical tips, like how to market themselves. Many of the girls were encouraged to know that a career in the arts does not necessarily require a college degree. Ayala said that when she told the students that she had never finished college, many of them felt relieved to learn that there was now one less barrier between them and their artistic aspirations. To complete the mural project, Ayala worked with the students at the museum and their school. The idea was to incorporate elements from the Amon Carter’s collection into the mural project. After honing sketches, the painting of the mural began in mid-December at the charter school. “We painted for several days straight,” Ayala recalled. “It was a fun project. There was a lot of excitement [at the school] because we were painting.” Ayala said the program has been a moving reminder of how rewarding it can be to work with younger artists. “I see myself in so many of them,” she said “and I could see how easily my life could have turned out differently if I hadn’t become an artist. It feels great to nurture that appreciation in other people. Being an artist is not just something I do. It’s how I think in everyday life. Thinking creatively goes into every aspect of my life nowadays.” Fuentes sees those moments of connection as beneficial for the community artists and the students. “We are always trying to find ways to get students in touch with the artists we are working with,” she said. “Students think art is something that happened a long time ago and that it doesn’t happen here in Fort Worth.” Changing that narrative by connecting professional artists with Fort Worth’s next generation of muralists, painters, and sculptors is just one of the goals of the Amon Carter’s newest educational program.
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