It's Not Worthless

Roxy Paine,  Conjoined, 2007

Say what you will about Texas, they don't stint on their museums -- that "bigger is better" phenomenon that is typically applied to steak, egos, and trucks can also benefit the arts, even if there is often a Remington-room whether you want it or not.  A recent foray to the Modern Art Museum of Fort Worth helped to redeem the entire city.  According to the museum's website, "The Modern Art Museum of Fort Worth's building was designed by the Japanese architect Tadao Ando. [...] Ando's design, which embodies the pure, unadorned elements of a modern work of art, is comprised of five long, flat-roofed pavilions situated on a 1.5 acre pond."  In fact, the building is a temple in which the permanent collection is allowed the luxury of space and context to be perceived as it should be.

Martin Puryear's “Ladder for Booker T. Washington” climbs up through a grey concrete tower to the infinite heights and Anselm Keifer's "Aschenblume" is the only piece in its own underground bunker. The collection leads you into unexpected alcoves, where work installed in the end points of the glass pavilions can be seen as reflections in the water, the water reflects in the glass, the building floats in space and art time. 

Cornelia Parker, Rorshach (Endless Column I ), 2005

14 silver-plated objects crushed by a 250 ton industrial press

A  right nice selection from the permanent collection includes three Richter's, a Rothko, a roomful of Scully's, a perfectly installed Donald Judd, and more.  A really big travelling exhibit of Andy Warhol -- really big -- with a little bit of everything -- and a small exhibit of Ben Jones' digital paintings round out the institutional cred.    If you are ever stuck in Fort Worth, the Modern might just make it worth it.

Pictures of the Museum