Opening soon at the Fort Wayne Museum of Art is the 46th Annual International Glass Invitational Award Winners exhibit in which glass sculptures by the best in the world will be on display. These beautiful works of art come into being by many processes, employing techniques that the average person might never have encountered. With that in mind, let’s explore one of the more popular glass making processes: cast glass.
The history of American art is filled with little-known human stories that I find generally more fascinating than much of the art. Today, I’m thinking about a young artists’ model, Audrey Munson, whose mercurial rise to fame was as unlikely as her despairing descent into the black void of the rest of her life. At the golden dawn of the 20th Century, Audrey Munson, an impoverished pre-teenager, caught the eye of photographer Felix Benedict Herzog as she pressed her face against a department store window and soon thereafter became the most famous artists’ model in American history.
Today’s featured work is General Anthony Wayne, a painting by Edward Percy Moran. Moran completed the work in 1923, and he’s depicted General Wayne at the side of a wounded Revolutionary soldier who is holding the new American Flag. The two are overlooking an unknown battlefield, but, since they’re holding the flag high, we can assume that it was a victory for our fledgling nation!
Stephen King. Truman Capote. Sylvia Plath. Marc Brown. These are all famous authors, so what are they doing on an art museum blog? Okay, fine, we'll talk artists. Andy Warhol. Cy Twombly. Red Grooms. Ezra Jack Keats. Do you know what these four writers and four artists have in common? They are all Scholastic Art and Writing Alumni!
Scholastic Art and Writing Awards alum and mixed-media artist Red Grooms celebrates his 81st birthday on June 7. In its 95-year history, the Scholastic Awards have played an early role in the development of myriad influential and innovative artists. In Drawing Inspiration, we’ll celebrate them through their work in the FWMoA permanent collection.
I first encountered the Latin-derived term horror vacui several years ago while researching outsider art from the first half of the twentieth century. Simply put, horror vacui is the fear, or abhorrence, of empty space. In the past hundred years, this term has been used in discussions of interior design (for instance, Mario Praz's critique of Victorian-era design) and artwork in which a two- or three-dimensional space is filled with detail or objects. The presence of horror vacui in visual art can stem from an artist's overwhelming compulsion (perhaps related to mental illness) to leave no space vacant or from a conscious aesthetic decision to forgo negative space.
Through our “Docent Dialogue” series we’ll learn a bit more about FWMoA’s greatest resources, the very special volunteers who make school tours possible—the Children’s Docents! They are the often-unsung heroes of the Children’s Education department and the roughly 7,000 students who tour the museum each year.
Our Exhibitions Content Manager, Elizabeth Goings, sat down with Outlaw Printmaker Dennis McNett to discuss printmaking, Norse mythology, and the meaning of Outlaw art. Read the full transcription below or listen here: Goings: What do you think of your work or your style being described as “irreverent” or “outlaw?” Do you view it as a …
This Picture I Gift, Michelle Andonian’s series featured in The National: Best Contemporary Photography 2018, is a documentary series that illustrates the aftermath of the Armenian Genocide. The effects of the genocide are especially meaningful for Michelle because her grandmother, Sarah, somehow escaped the chaos before it was too late. Only 9 years old at the beginning of the genocide in 1915, Sarah survived the massacre of 1.5 million Christian Armenians and displacement of hundreds of thousands at the persecution of the failing Ottoman Empire.
The Fort Wayne Museum of Art will collect, preserve and present American and related art to engage and educate broad and diverse audiences throughout the region to add value to their lives. I’ve copied and pasted this sentence into hundreds of grant proposals, stamped it into countless museum publications, analyzed its meaning with board members, worked with my colleagues to weave those activities into every museum program, and conveyed this message to every casual visitor who wanders onto the requisite “About” page of our website. Those 32 words define the work of this museum every day for the staff and board as we put our shoulders to the wheel in the name of art for the betterment of the community. But what does that work look like in real life? If life at FWMoA were a reality TV show, what would our producers exploit for the sake of juicy television?