What do The Beatles, Suprematism, and Abstract Expressionism have in common? Find out in this "Off the Cuff", where President & CEO Charles Shepard discusses how movements, whether musical or artistic, are born.
Off the Cuff: A Style is Born
Off the Cuff: Let’s Get Real
Let's get real about Realism! In this "Off the Cuff", FWMoA President and CEO Charles Shepard talks about the fate and future of Realism as abstract art joined the scene.
Off the Cuff: Building Our Collection on a Budget
In this "Off the Cuff", President & CEO Charles Shepard discusses the collecting strategy for FWMoA and how it adheres to our mission as a museum.
Off the Cuff: The Origins of Abstraction
In this "Off the Cuff", President and CEO Charles Shepard addresses the movement from realist to abstract art, and the collective purpose of abstract artists to bringing truth into the world.
Off the Cuff: The Virtual Art Market
President & CEO Charles Shepard discusses the virtual art market during this time at home and how he continues to add to the FWMoA collection for everyone to enjoy once we reopen to the public.
Off the Cuff: Michael Estes Taylor’s Contribution to Contemporary Glass
Every generation of artists has wrestled with two major demons – how to create art that is distinct from the notable art that preceded them and how to create art that is relevant to the particular time in which they find themselves. Read on to see how contemporary glass artist Michael Estes Taylor found his place in the art world.
Off the Cuff: Barbara Stanczak, Visions of Intuition
Chief Curator, President, and CEO of FWMoA Charles Shepard writes on Barbara Stanczak's place in art history in this new installment of "Off the Cuff".
Off the Cuff: We Love Art More than We Know
What artworks do you love? What artworks make you feel happy in your space? President and CEO Charles Shepard discusses our love of stuff, in particular, our visual stuff: from our kids fridge art to prints by well-known artists to what we find in a gallery or museum.
Off the Cuff: Folk Artist Howard Finster
Throughout my career I’ve been blessed with friendships with some of the most interesting people in the art world. One of the most fascinating was the self-taught folk artist Howard Finster. I was a myopic art historian in training when I first saw Howard’s work in an art magazine in the library of the Clark Art Institute. I had no experience with “outsider art” and thought the idea that someone self-taught could actually make art was ridiculous. Several years later, however, while spending a long weekend in Chicago browsing through the galleries of River North, I called on art dealer Carl Hammer and discovered that his entire gallery was devoted primarily to these “outsiders.” My education about folk- or outsider- art began that afternoon as Carl walked me through his back room pulling painting after painting from the racks and telling me stories about each of his artists, including Howard Finster.
Off the Cuff: Fort Wayne’s Past in a Portrait
Whoever is shown in this painting, parts of it were painted well and parts of it show a great lack of skill or a disinterest in accurately depicting parts of the picture. This painting was commissioned to local painter Horace Rockwell, who made a modest living in the business of commercial portraiture and occasionally executed nearly life-sized family portraits like that of the Hanna family. Rockwell, exercising the style of the time that people should be depicted naturally and without idealization, paid special attention to the faces of the Hanna family and rather skillfully shows how these people probably looked in real life. Ironically, the bodies of these people look quite unnatural, lacking anatomically correct bone structure and proportion. Feet look more like wooden wedges, shoulders slump like shapeless sacks of flour, and the youngest Hanna in the portrait is shown to have only four toes. Rockwell has problems with his composition as well. An empty spot in the middle of the painting leaves an awkward division between the sitters, and almost no attention is paid to the background, which the artist has chosen to resolve by painting it a flat brown with no clue to tell us where this family is sitting.