Camp Bosworth is a Marfa-based artist who utilizes wood carving to create sculptures and paintings that reflect the world around him. Often carved and sometimes gilded in gold and silver, these pieces almost always utilize scale to create humor and interest. A native-Texan, Camp received his BFA in painting from the University of North Texas and worked in Dallas until relocating to Marfa in 2001. Camp has since become one of the de facto artists of record in the West Texas art mecca. The themes he explores range from drug cartels to boom boxes to the small-town-Texas Dairy Queen. He regularly exhibits his work throughout the Southwest, including the Webb Gallery in Waxahachie where I was recently able to sit down with Camp to discuss growing up in Texas, the influence of Claes Oldenburg, why it’s better to go big, how Marfa has evolved over the last twenty years, the oddities of interacting with busloads of tourists, giant gilded guns and steak finger baskets.
“What we do as curators at museums is a form of teaching for students we may never meet”
Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington.
I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.
I recently sat down with Sara at her home-studio in Oak Cliff where we discussed growing up in a family of creatives, returning to one’s roots, carving out time for one’s craft, the evolving art scene in Dallas, Bangladeshi movie posters, and her grandfather’s relationship with Diego Rivera.
Bruce and Julie Webb have owned and operated the Webb Gallery in Waxahachie, Texas since 1987. The art gallery is a destination for collectors worldwide who share the Webb’s fondness of art in its rawest and most authentic form. Bruce funneled the eccentricities of his family’s history and a childhood combing through flea markets to develop a love for the odd, handmade and unique. He and Julie have worked over the last 30 years to curate an aesthetic that recognizes contemporary folk art that in Bruce’s words “feels like it’s from another planet.” The couple’s world-class collection of art from fraternal organizations (like the Masons and Odd Fellows) led to Bruce co-authoring a fully-illustrated book on the subject in 2016 titled As Above, So Below: Art of the American Fraternal Society, 1850-1930. The Webbs are a household name in the world of “outsider art” and are participants each year in New York’s Outsider Art Fair.
I recently sat down with Bruce and Julie at their gallery where we discussed flea markets, punk rock, Free Masonry, hobos, folk art, the uniqueness of Waxahachie, their friendship with David Byrne, and spending half the year on the road finding treasures.
Nancy Lamb is a long-admired artist that has been a fixture in the Fort Worth art and social scene for decades. A native of Fort Worth, she chose to stay close to home by studying art at Texas Christian University. Nancy first gained recognition in her hometown through a series of art classes that she taught at the Fort Worth Museum of Science and History which included her production of 3D work. But Nancy is probably best known for her large-scale oil paintings of candid Fort Worth society scenes. These paintings can be found in exhibitions at home and worldwide, such as the Florence Biennale, as well as being a popular choice in private and corporate collections. Nancy is represented in Fort Worth by Artspace 111.
I recently sat down with Nancy at her home studio where we discussed growing up in Fort Worth, the disappearance of small town Texas culture, the upkeep of her four acres, going to parties, experiencing loss and what to do with thirty years of photographs.
I recently sat down with Nic at his home studio where we discussed growing up in Dallas, studying filmmaking, being part of a movement, the changing art world in Santa Fe, the willingness to continue to try new things, and the measurement of time.
I recently sat down with Gabriel at his Dallas studio where we discussed his childhood in Mexico, his grandmother’s influence, his life as a graphic designer in Canada, the importance of Centraltrak, experimenting with glass, and his discomfort with heights.
I recently sat down with Deborah at her home studio in Dallas where we discussed her childhood riding the “L” to the Art Institute, the emergence of photography as an area of arts study, her love of Taos, planting roots in Dallas and what it’s like to be a classically-trained photographer in the age of Instagram.
Liz Trosper is a Dallas-based artist whose work utilizes assemblage and digital imaging to challenge the conventional definitions of painting. She came to painting after the prolonged study of political science and public administration, as well as professional experience in the public sector. Liz obtained her MFA at UT Dallas, a program that focuses on the intersection of traditional art theories with emerging technologies. While there, she was a resident at UTD’s highly touted CentralTrak residency program. Liz is represented by Barry Whistler Gallery in Dallas, and her work has been shown in art spaces such as The Dallas Contemporary, Lawndale Art Center in Houston, Richland College, UT Dallas, Academic Gallery in New York and many other galleries and exhibition spaces. She is a lecturer at UT Dallas and curates a nonprofit experimental art space in Dallas called Umbrella.
I recently sat down with Liz at her Deep Ellum studio where we discussed growing up in the suburbs, the landscape of community-level politics, studying philosophy, using technology in the studio, and the satisfaction of finding your life’s calling.
Ted Kincaid is a Dallas-based artist whose work challenges the notion of photography as a subjective record. Through the use of digital and traditional processes, Ted is creating a new type of painting informed by photo-imagery and a new type of photography influenced by painting. He received his BFA from Texas Tech and his MFA from the University of Kentucky before returning to Dallas to set up his practice. He has been reviewed in ARTFORUM, ARTPAPER and ART ON PAPER and is included in the permanent collections of both the Dallas Museum of Art and the Museum of Fine Arts in Houston, as well as a host of corporate collections, including a massive 700-square foot canvas in the Dallas Omni Convention Center Hotel. Ted is represented by a number of galleries around the U.S., including Talley Dunn Gallery in Dallas and Devin Borden Gallery in Houston.
I recently sat down with Ted at his home in Dallas where we discussed the veracity of the photographic image, pictorialism, the sublime, the former grandeur of Valley View Mall and the current state of arts education.