Mo’ Dern’ Modern Art from Texas, by Michael H. Price
The Fort Worth Circle – a fabled and enduringly relevant colony of artists who transcended their provincial Texas bearings to help redefine art as a class during the 1940s and ’50s – comes full-circle in a massive exhibition at the Amon Carter Museum in Fort Worth, Texas. The styles of painting and etching – often veering toward cartooning, like their European counterparts in the somewhat earlier dawning Age of Picasso – are too wildly diversified to allow any simple description: One might say the members shared an impulse to describe how it felt to be alive at a time of unbridled creative enthusiasm and reciprocal encouragement.The display of nearly 100 striking examples is called Intimate Modernism: Fort Worth Circle Artists in the 1940s, the first such industrial-strength retrospective in more than 20 years. (More than 50 years is more like it, in the case of many of the featured works. Some privately held pieces have gone that long without a public-viewing showcase, as curator Jane Myers points out.)
If some of the works suggest music to those discovering the Circle for the first time, it might be helpful to mention that Stravinsky and Ravel, as modernists in their own right, were among the members’ preferred composers; at the time of the Circle’s launching, the larger movements toward modern jazz, progressive jazz, and free-form jazz had yet to take a decisive form.
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We’re all used to Hollywood changing endings for comic book adaptations, usually to make them happier and more palatable to mainstream audiences (such as Mary Jane being saved from the Green Goblin on a Manhattan bridge rather than Gwen Stacy being thrown from one). And yet, the involvement of Neville Page in the upcoming Watchmen movie suggests that this film may try to be more true to its roots, considering that Page is known for monster/creature effects.
