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When I’m in Paris, I love going to museums. In fact, I can overdo the museum time if I’m not careful because there are always interesting exhibits on and so many wonderful museums to choose from. But as wonderful as the art scene is in Paris, that city certainly doesn’t have a monopoly on great art. There are plenty of opportunities to view great art wherever (or hopefully near where) you live.
I was reminded of this during a recent visit with family in Fort Worth, Texas. You wouldn’t immediately guess it, but Fort Worth–best-known for its Stockyards, where you can witness a real-live cattle drive every day–is home to several world-class museums, including the Kimbell Art Museum, which has an incredible permanent collection and will be hosting a special exhibit from the Musée d’Orsay soon. Just across the street from the Kimbell is another outstanding museum, the Modern Art Museum of Fort Worth, aka “The Modern.”
The Modern is the oldest art museum in Texas and was originally chartered in 1892, although its collection now focuses on post-World War II-era art. Its current building was designed in 2002 by the renowned Japanese architect Tadao Ando and integrates natural elements, such as a reflecting pond and an outdoor sculpture garden, with a steel and concrete structure to create an understated, blank canvas on which the art can shine.
On the day I decided to stop in recently, a new exhibit was being installed on the first floor so admission was half-price. So, that was a nice bonus! The upstairs galleries were all open, though, and those ended up being just enough art to absorb for one afternoon. It’s an eclectic collection, from Picasso and Gerhard Richter to Susan Rothenberg and Philip Guston, and includes paintings, sculptures, and multimedia pieces. While I can’t claim that I “got” every piece that I looked at, certain pieces definitely drew me in, whether they were intriguing or disquieting. Art, regardless of style, engenders a subjective response from the viewer—like, dislike, indifference, admiration, repulsion, wonder, anger, delight, and so on. And while some pieces we appreciate on a superficial level, others can speak to our soul.
And I can say only half-jokingly that, because of my love for horses, if a horse is in the art piece, then I’ll naturally gravitate to it. Which, of course, is why I stood at the sculpture Hina, by Deborah Butterfield, and admired it from every angle–and really wanted to reach out to touch it, or why I was drawn to the painting Cabin Fever, by Susan Rothenberg. But I was also drawn to the series of geometric colorscapes by Sean Scully, and I find myself hard-pressed to articulate why. Perhaps because those pieces had an almost meditative effect?
But then I find most museums to be a meditative experience in some way, similar to perusing a bookstore. I tend to lose track of time and forget all my cares for the moment. And the Modern was certainly no exception.
Photos by Judy L. Marchman