If any one outcropping of the cultural skyline of Fort Worth, Texas, can be said to state a case for a Bold New Millennium, it is the 2002 landmark address of the Modern Art Museum, designed by the architect Tadao Ando as a sculptural statement in itself. The Modern Art Museum of Fort Worth is at once the oldest such museum in Texas – chartered in 1892 – and handily the newest in aspect. I spend a great deal of time there for both workaday and leisurely purposes: The Modern’s art-film theatre is descended from an imports-and-independents movie program that I developed during 1996–2002 at one of the downtown movie houses, and my jazz trio performs at the Modern as a matter of routine. Full disclosure, and all that.
As befits a monumental sculpture of architectural pedigree, the building that houses the Modern of Fort Worth has fared particularly well as a showcase for internal exhibitions of sculpture. The exhibit of the moment is called Martin Puryear, newly opened for a run through May 18.
The retrospective survey of works by a celebrated American artist features nearly 50 sculptures in an arc reaching from Martin Puryear’s first solo museum show in 1977 to the present day.
Working primarily in wood, Puryear, 67, has maintained a commitment to manual skills and traditional building methods. His forms derive from everyday objects, both natural and man-made, including tools, vessels and furniture. His sculptures are rich with psychological and intellectual references, examining issues of identity, culture and history. Key influences can be traced to his studies, his work and his travels through Africa, Asia, Europe and the United States.
Chief curator Michael Auping explains: “Puryear’s work has a way of sneaking up on us perceptually, and it is partially through his surfaces that we are drawn in, invited to inspect his wooden objects more closely, as one would a more intimate construction, through the subtlety of inflection that he … imparts to the surface.”
Puryear’s most striking forced-perspective work, Ladder for Booker T. Washington (1996), is part of the permanent collection of the Modern Art Museum of Fort Worth – and as such, an ideal element of familiar leverage into the greater range of the exhibition. This towering object was inspired by homemade ladders that Puryear had noticed in the French countryside while working at Alexander Calder’s studio on an invitational grant.
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