The event features an evening of tasty food, signature cocktails, and creativity inspired by the 250th birthday of the United States and the Carter’s upcoming exhibition The Statue of Liberty from Bartholdi to Warhol. Patriotic costumes are encouraged but not required. Prizes will be presented to the costume contest winners voted America’s sweethearts!

Photo courtesy of The Carter

Hosted by Carter Society, the Museum’s membership group for young professionals, Midsummer Mingle provides a unique opportunity for attendees to connect through art while enjoying an exclusive after-hours experience at the Carter.

Tickets are available for Carter Society members and above! Tickets will be available for Associate and Friend level members as well as non-members on May 15.

Photo courtesy of The Carter

Midsummer Mingle
cartermuseum.org/MidsummerMingle26
Friday, June 26, 2026
5:30–7:30 p.m.
FREE for Carter Society Members

Midsummer Mingle is free for Carter Society level members and above. Tickets include food, drinks, and entertainment. Carter Society level members and above may reserve two complimentary tickets per membership.

Carter Society is a young professionals group designed for art enthusiasts looking to connect through unique experiences. Carter Society offers exclusive perks for young professionals, including advance registration for Adult Workshops and free tickets for Carter Society events. Learn more at cartermuseum.org/membership.

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Three new installments of Second Thursdays at the Carter will add interest to weeknight plans in the months ahead.

Second Thursdays is a FREE monthly event at the Amon Carter Museum of American Art (the Carter) where visitors can connect with art through cocktails, conversations, and creativity in the heart of Fort Worth’s Cultural District. Just like the art on the Carter’s walls, these events are always changing, so each visit offers something new. This season, enjoy exclusive artist talks, live music, specialty cocktails, art making, and more.

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“Black Photojournalism continues the Carter’s commitment to providing a more comprehensive view of American artistic expression,” said Scott Wilcox, Interim Director of the Carter. “This exhibition not only celebrates the artistry and vision of these photojournalists but also amplifies the stories and communities that have often been underrepresented in the history of American media and art. We are grateful to Carnegie Museum of Art for organizing this exhibition and to the many photographers, publishers, and archives whose work allows us to share these powerful images with Fort Worth audiences.”

From the rise of Black-owned media following World War II to the civil rights movement and beyond, these images showcase the vital contributions of Black photojournalists in shaping how people saw themselves and their communities. Their photographs not only documented moments of social change but also captured the vibrancy of daily life, offering a fuller and more nuanced portrayal of Black experiences in America. Together, these works underscore how photojournalism served as both a record of history and a tool for empowerment.

Kwame Brathwaite (American, 1938-2023);Changing Times;ca. 1973, printed 2025;inkjet print;sheet: 60 × 60 in. (152.4 × 152.4 cm);The Kwame Brathwaite Archive;BPJ.2025.997

“Black Photojournalism is a rich and unprecedented opportunity to see how Black photographers persistently and imaginatively captured Black life in the history-making decades of the post-World War II era,” said Charles Wylie, Curator of Photographs at the Carter. “Carnegie Museum of Art has created an extraordinary experience for visitors that breaks new ground with a much fuller look than ever before at how Black life was represented in the vibrant Black press. A special feature will be the chance to see how well-known artists such as Kwame Brathwaite, Gordon Parks, Ming Smith, and Shawn Walker, among many, produced photographs for the pages of Black media outlets that have now achieved iconic status as works of art.”

Drawn from archives and collections across the country, the original photography prints in Black Photojournalism reveal the tireless efforts of Black publishers, photographers, and news professionals who built groundbreaking editorial methods and networks during a time of urgent social change. Newspapers and magazines such as the Afro American News, Atlanta Daily World, Chicago Defender, Ebony, and Pittsburgh Courier offered powerful new ways for Black readers to see themselves and their communities, transforming the media landscape in ways that continue to resonate today.

The exhibition is arranged chronologically, with sections organized by decade. These sections include:

Charles “Teenie” Harris (1908–1998), A Pittsburgh Courier press operator, possibly William Brown, printing newspapers, possibly for a Midwestern edition, 1954, inkjet print, Carnegie Museum of Art, Heinz Family Fund, 2001.35.3136, © Carnegie Museum of Art, Pittsburgh

·       1940s–1950s: America After the War

Taking its title from Langston Hughes’s 1943 column in the Chicago Defender, this section reflects the hopes and dreams of Black Americans in the aftermath of World War II. Black photojournalists documented not only the persistence of racial inequities—segregation, economic disparity, and limited opportunities—but also moments of joy, family life, and community resilience. This era saw the rise of Black-owned newspapers and magazines, including Ebony and the Pittsburgh Courier, which foregrounded Black experiences for Black audiences. Together, the photographs and publications in this section, including important work by Austin Hansen, Charles “Teenie” Harris, Moneta Sleet, Jr., and Gordon Parks, highlight the innovative networks and editorial methods that shaped Black media in mid-century America.

Moneta Sleet Jr. (1926–1996), Dr. Martin Luther King, Jr. enroute to receive the Nobel Peace Prize, 1964, gelatin silver print, Saint Louis Art Museum, Gift of the Johnson Publishing Company, 402:1991, © Johnson Publishing Company Archive, Courtesy J. Paul Getty Trust and Smithsonian National Museum of African American History and Culture; Made possible by the Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, The Andrew W. Mellon Foundation, and Smithsonian Institution

·       1960s: Black Is Beautiful

This section documents a transformative era of liberation, expression, and hope. The 1960s brought both social upheaval and cultural affirmation, as Black Americans embraced identity, heritage, and political activism. Photographers in this decade, including Guy Crowder, Chester Higgins, and Ernest Withers, captured civil-rights milestones alongside everyday community life, showing how collective action and cultural pride intertwined.

While iconic images of protest often came from White-owned media, Black photojournalists offered nuanced perspectives, emphasizing the creativity, solidarity, and resilience that defined the fight for equity.

Ming Smith (b. 1953), America Seen Through Stars and Stripes, New York City, NY, ca. 1973, gelatin silver print, Carnegie Museum of Art, Margaret M. Vance Fund, 2017.19.5, © Ming Smith. By permission

·       1970s: Can You Dig It?

The 1970s were marked by cultural innovation, political engagement, and a celebration of Black life across the arts and media. Photojournalists documented the influence of Black Power, the Black Panther Party, and the emergence of blaxploitation films like Gordon Parks’s Shaft (1971), reflecting a society attuned to both struggle and style. This section captures the vibrancy of music, fashion, and daily life as seen in works by Kwame Brathwaite, such as Jacksons on Boat from Gorée Island (ca. 1974) and Changing Times (ca. 1973). Also included are moments of protest and progress, emphasizing creativity as both expression and resistance, as is seen in Ming Smith’s America Seen Through Stars and Stripes, New York (ca. 1973). Together, these images reveal how Black communities claimed space, culture, and visibility in a rapidly changing world.

Jeanne Moutoussamy-Ashe (b. 1951), Josette’s Wedding, Queens, New York, 1981, gelatin silver print, Carnegie Museum of Art, the William Talbott Hillman Fund for Photography, 2023.50.1, © Jeanne Moutoussamy-Ashe

·       1980s: Keep Hope Alive

Named after Jesse Jackson’s 1988 campaign slogan, this section reflects the complex realities of Black life in the 1980s, a decade shaped by systemic disenfranchisement, the war on drugs, and mass incarceration. Black photojournalists including Adger Cowans, Bruce Talamon, and Deborah Willis-Ryan documented both the challenges of the era and moments of joy, from weddings and parades to intimate family gatherings, showing the endurance of community and spirit. These images underscore how Black media continued to affirm identity, resilience, and hope in the face of adversity. Through this work, the decade’s triumphs and trials are preserved in a rich, nuanced visual record.

The Carter’s presentation of the exhibition also features a distinctive Fort Worth component developed in collaboration with the Tarrant County Black Historical and Genealogical Society (TCBHGS). This partnership includes a dedicated presentation of ephemera and photographs from the TCBHGS archive, highlighting how our local Black media uniquely documented everyday life, community events, and historic milestones across North Texas from the postwar era through the mid-1980s. Voices from the TCBHGS are also featured in the Carter’s first exhibition audio guide on Bloomberg Connects, a free digital platform from Bloomberg Philanthropies that offers interactive content and interpretive insights, further deepening the exhibition’s connection to our local history and community perspectives.

Kwame Brathwaite (1938–2023), Changing Times, ca. 1973, inkjet print, The Kwame Brathwaite Archive, © Kwame Brathwaite

Black Photojournalism is organized by Carnegie Museum of Art. The exhibition is designed by artist David Hartt, and is co-organized by Dan Leers, curator of photography, and Charlene Foggie-Barnett, Charles “Teenie” Harris community archivist, in dialogue with an expanded network of scholars, archivists, curators, and historians. Significant support for this exhibition has been provided by the Terra Foundation for American Art. Black Photojournalism has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. In-kind support for this exhibition has been provided by Herman Miller.

The Carter’s presentation of this exhibition is supported in part by the Leo Potishman Foundation, The David H. Gibson Foundation and the Alice L. Walton Foundation Temporary Exhibitions Endowment. In-kind support provided by the Fort Worth Report.

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Photo courtesy of Amon Carter Museum of American Art

Photo courtesy of Amon Carter Museum of American Art

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The Amon Carter Museum of American Art (the Carter) is pleased to announce its 2026 Carter Community Artists: Holly D. Gray, Jack Hein, Elizabeth Maria Hudson, and Carolyn Marco.

Every year, the Carter selects four local artists to assist with creating, planning, and leading experiences at the Museum and in the community. This yearlong commitment allows local artists to collaborate with the Carter’s education staff on a wide variety of projects and events designed for audiences of all ages and abilities. In 2026, these four artists will each bring their distinct talents and perspectives to the Museum as they make connections to the Museum’s expansive collection, exhibitions, and rich history with the local community.

“With each new class of Carter Community Artists, our collaborative possibilities expand,” said Amanda Blake, Director of Education, Library, and Visitor Experience at the Carter. “For 2026, we’re particularly excited to partner with artists whose work invites curiosity, sparks dialogue, and reflects the diverse experiences of our community. These artists will play an essential role in shaping how we share and celebrate American art in the year ahead, and we look forward to the experiences we create together.”

L-R: Holly D. Gray, Jack Hein, Elizabeth Maria Hudson, and Carolyn Marco
Photos courtesy of Amon Carter Museum of American Art, Fort Worth, Texas

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In August 2026, the Amon Carter Museum of American Art (the Carter) will premiere The Statue of Liberty from Bartholdi to Warhol, an examination of the Statue of Liberty’s enduring relevance in American visual culture and the evolution of its image from the 1870s to the present.

Bringing together nearly 100 artworks and objects from more than 70 artists, the exhibition explores the statue’s varied manifestations—from artistic marvel and pop culture icon to symbol of immigration, patriotism, and resistance—and how successive generations of artists, including Pacita Abad, Benny Andrews, Edward Moran, Norman Rockwell, Nari Ward, and Andy Warhol, have represented its iconic form over the past 150 years. Co-organized with the Denver Art Museum, The Statue of Liberty from Bartholdi to Warhol will open at the Carter on August 16, 2026, and be on view through January 3, 2027, before its presentation in Denver.

Frederic-Auguste Bartholdi (1834-1904)
Liberty Enlightening the World (Statue of Liberty), 1894-1901
Bronze with brown patina and black lacquer
L2024.15

“This monumental exhibition tells the story of how our nation has interpreted the Statue of Liberty not only as a national icon, but also as a reflection of American values, creativity, and identity throughout our collective history,” said Scott Wilcox, Interim Director of the Carter. “Premiering The Statue of Liberty from Bartholdi to Warhol in Fort Worth on the occasion of the 250th anniversary of our nation’s founding invites our community to see this emblematic statue in new dimensions.”

Nari Ward (b. 1973), Lazarus, 2019, shoelaces, Vilcek Foundation Collection, © Nari Ward Studio. Courtesy the artist and Lehmann Maupin, New York, Seoul, and London, and GALLERIA CONTINUA, Photo by Joshua White

Accompanying the exhibition is a community centered installation of ephemeral objects depicting the representation of the Statue of Liberty in popular culture. Members of the community are invited to loan items from their personal collections, from rubber ducks to dolls, for inclusion in the closing section of the exhibition. The Carter is accepting applications through May 1, 2026, at cartermuseum.org/LendLiberty.

The Statue of Liberty from Bartholdi to Warhol is co-organized by the Amon Carter Museum of American Art and the Denver Art Museum. The Carter’s presentation of The Statue of Liberty from Bartholdi to Warhol is supported by The Ann L. & Carol Greene Rhodes Charitable Trust, Bank of America, N.A., Trustee and the Alice L. Walton Foundation Temporary Exhibitions Endowment.

Roy Lichtenstein (1923–1997), I Love Liberty, 1982, planographic print, Whitney Museum of American Art, New York; The Roy Lichtenstein Study Collection, gift of the Roy Lichtenstein Foundation, 2019.161, © 2025 Estate of Roy Lichtenstein/DACS

The exhibition will also travel to the Munson Museum of Art in Utica, New York from August 5 through December 5, 2027. In Denver, the Denver Art Museum and the Carter will co-host an in-person symposium, learnings from which will be published online thereafter. The Carter will celebrate the exhibition during their Second Thursdays event on Thursday, September 10, 2026, with talks and activities exploring the exhibition. Additional events will be scheduled throughout the run of the exhibition. For dates and details visit cartermuseum.org.

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The Amon Carter Museum of American Art (the Carter) has announced that it will present conceptual and multimedia artist Celia Álvarez Muñoz’s installation El Límite (the boundary or limit) as the next exhibition in the Museum’s first-floor Sloping Gallery—the space linking the Carter’s original 1961 building and its 2001 expansion.

Based in Texas, Muñoz is celebrated for her work that addresses the dichotomies of the Mexican American experience through photography, works on paper, and various multimedia. Celia Álvarez Muñoz: El Límite will be on view from January 17, 2026, through October 18, 2026.

Installation view, Celia Álvarez Muñoz: El Límite, Museum of Contemporary Art San Diego, February 16–June 2, 1991

“The Carter’s presentation of El Límite marks a special homecoming of Muñoz’s installation to a profound point in her life that catalyzed the rest of her artistic career,” said Andrew Eschelbacher, Director of Collections & Exhibitions. “By bringing these two artists’ interconnected practices together, audiences can draw parallels between Muñoz’s and Posada’s nuanced explorations of the railroad’s disruptiveness and connectivity. Our Sloping Gallery—a space that physically bridges the eras of our Museum—provides a symbolic setting to present these two different generations of artistic output.”

Installation view, Celia Álvarez Muñoz: El Límite, Museum of Contemporary Art San Diego, February 16–June 2, 1991

Several Posada relief prints from the Carter’s collection will complement the installation, allowing audiences to trace the direct references in form and style that Muñoz emits in her work. Visitors can also compare and contrast Posada’s depictions of various Mexican subcultures, customs, and symbols with that of Muñoz in each of the works.

José Guadalupe Posada (1852-1913); Soprendente Milagro, ca. 1890-1913. Relief print; Amon Carter Museum of American Art, Fort Worth, Texas. 1978.384.16

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Under his tenure, the Carter’s collections and endowment have expanded significantly, and the Museum’s internal galleries have been renovated and reimagined to improve visitor experience and to emphasize a thematic presentation that connects artists and works through time. He also expanded the Carter’s exhibition program to include site-specific installations by living American artists, and enhanced access to the Carter’s collection onsite and online, all of which have resulted in significant growth in community engagement and impact.

Photo courtesy of Amon Carter Museum of American Art

Walker’s last day at the Museum will be August 31, 2025. Scott Wilcox, the Museum’s Chief Operating Officer, has been named interim Executive Director. The Board will be launching a search for the Carter’s next Executive Director in the coming weeks.

“I have been honored to lead the Carter for the past fourteen years and watch it evolve into the impactful institution it is today,” said Andrew J. Walker. “I am exceptionally proud of all that we have accomplished, whether through our commitment to new scholarship on American art, our exceptional exhibition program, or our continued expansion of the Carter’s collection to include new voices and seminal works that tell the story of American creativity. A particular highlight for me has been our expanded engagement with the communities we serve, and the relationships we have built with our partners and supporters,” said Walker. “Given all that we have accomplished together, it feels like the right moment for me to depart and allow a new leader to take the helm as the Carter plans for its future.”

During Walker’s tenure, the Carter has continued to acquire important works of art by acclaimed American artists, with noted acquisitions of artwork by Ruth Asawa, George Bellows, Dawoud Bey, Mary Cassatt, Gabriel Dawe, Richard Hunt, Norman Lewis, Glenn Ligon, and John Singer Sargent, among many others. Walker also spearheaded the Museum’s collecting initiative dedicated to amplifying Indigenous artists’ contributions to American visual identity through the history of photography, which saw the addition of artwork by more than ten Indigenous photographers including Tom Jones, Shelley Niro, Cara Romero, Sarah Sense, and Hulleah Tsinhnahjinnie.

“Andrew Walker became director of the Amon Carter Museum of American Art before my mother Ruth Carter Stevenson passed away,” said Karen Hixon, President of the Board of Trustees. “Andrew came to understand her passion and vision and continued to ably lead the Museum through the transition years and beyond. We are grateful for all he has done to set the Carter on such a strong path for its future. I so appreciate his leadership, good counsel, and friendship over the last many years and wish him well in in this the next chapter of his life.”

Photo courtesy of Amon Carter Museum of American Art

In 2019, Walker stewarded the Carter through a major renovation that expanded and updated exhibition spaces to create wider galleries and better sightlines, while dedicating 7,000 square feet for special exhibitions. During this time, the Carter also unveiled a new website, dramatically increasing public access to the collection and the wealth of stories about American art that it possesses. The renovation also included an expansion of the Carter’s photography vaults with the latest advancements in climate control cold storage, allowing for the future growth of the collection and the continued preservation of the Museum’s holdings. Established at the same time thanks to generous gifts, the Gentling Study Center provides resources and support for ongoing scholarship on Scott and Stuart Gentling as well as other under-researched American artists.

Since Walker joined the Museum in 2011, the Carter expanded its exhibition program to include site-specific installations by living American artists, presentations of work by underrepresented artists, and organized major exhibitions that have toured the nation. Highlights include American Epics: Thomas Hart Benton and Hollywood (2015); Color: American Photography Transformed (2013); Emancipation: The Unfinished Project of Liberation (2023); Leonardo Drew: Number 235T (2023); Mythmakers: The Art of Winslow Homer and Frederic Remington (2020); The Perilous Texas Adventures of Mark Dion (2020); Navigating the West (2015): George Caleb Bingham and the River (2014); Speaking with Light: Contemporary Indigenous Photography (2022); Stephanie Syjuco: Double Vision (2022); Wild Spaces, Open Seasons: Hunting and Fishing in American Art (2017); and The World Outside: Louise Nevelson at Midcentury (2023).

As Executive Director, Walker was an active champion of the Museum’s community engagement and outreach initiatives, impacting the audiences the Carter serves both at the Museum and across North Texas. In 2018, Walker supported the launch of the Museum’s Carter Community Artists initiative dedicated to supporting and working with local artists, providing the public with access to collaborate and learn from artists working in the community. The Museum has also established a robust network of community partners to enhance engagement with visitors at the Carter and beyond the Museum walls.

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The new school year is just around the corner!

This fall, the Amon Carter Museum of American Art (the Carter) is offering a variety of free monthly events designed for kids of all ages that spark creativity and make American art accessible for even the youngest scholars. Monthly favorites such as Itty-Bitty Art (up to 24 months), Toddler Studio (2–3 years), and Carter Playdate (3–5 years) invite children up to age 5 to explore the Museum and engage with art in fun, age-appropriate ways, while Family Workshops provide collaborative and interactive art-making experiences for ages 6 to 12. (Please note that while these events are free, reservations are encouraged.)

The Carter also offers a variety of resources for families to make the most out of their visit to the Museum this fall. Art Discovery Guides are available onsite at the Information Desk and online to help navigate the Carter’s collection. And ARTivity Totes are available to check out at the Information Desk with a variety of activities for kids of all ages to look, play, make, and do.

Photo courtesy of Amon Carter Museum of American Art

Itty-Bitty Art is a monthly event for children 24 months and younger with their favorite adult. During this free event, learn tips and tricks for enhancing curiosity and imagination using the Carter’s collection and exhibitions as inspiration. On Saturday, August 16, from 10 to 11 a.m., visitors are invited to join us at the Carter for Itty-Bitty Art: Tummy Time. Spend quality time with your infant and learn about food-filled artworks as we sing, look, and enjoy sensory playtime fun.

Photo courtesy of the Amon Carter Museum of American Art

Carter Playdate is a monthly event for children ages 3 to 5 and their favorite grown-up. Explore artworks together each month with themed explorations of our galleries, a storytime that connects to the artworks we see, and a fun art-making activity you can do together. On Saturday, August 16, from 11:30 a.m. to 12:30 p.m., visitors are invited to join us at the Carter for Carter Playdate: On the Table. During this free event, we’ll read The Only Way to Make Bread by Cristina Quintero and Sarah Gonzales, learn about tasty artworks, and create their own still-life paintings.

Photo courtesy of Amon Carter Museum of American Art

Toddler Studio is a monthly event for toddlers (ages 2 to 3 years old) and their favorite grown-up. Led by Museum staff, toddlers and adults will connect to art through gallery games, playtime, and sensory learning. On Saturday, September 6, from 11 a.m. to noon, visitors are invited to join us at the Carter for Toddler Studio: Friends and Family. Enjoy a toddler-friendly playtime while we sing, play, and enjoy sensory fun inspired by Carter artists and their friendships.

Photo courtesy of Amon Carter Museum of American Art

Family Workshops are quarterly events designed for children 6 to 12 years old and their favorite adults. Each Family Workshop encourages creativity through a themed gallery experience before participants work together as a family to create a work of art inspired by the Carter’s collection and exhibitions. On Saturday, September 6, from 2 to 4 p.m., visitors are invited to join us at the Carter for Family Workshop: The View from Here. During this free event, families will spend the afternoon learning about landscape artworks and work together to create their own nature-based creation.

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Each year, the Carter selects four local artists to assist with creating, planning, and leading experiences at the Carter and in the community. This yearlong opportunity invites selected artists to collaborate with the Museum’s education team on a wide variety of projects and events designed for audiences of all ages and abilities.

Applications will be open through Monday, September 8, 2025, and will be available online at cartermuseum.org/CCA. Selected artists will be announced in late fall 2025.

Carter Community Artists is an annual initiative dedicated to supporting and working with local artists. This initiative was launched in 2018 to enhance the Carter’s events, connect the North Texas community with practicing artists, and build a network among local artists.

2025 Carter Community Artists

Carter Community Artists are driven by a deep passion for the arts, a genuine love for our community, and a desire to create connections between audiences and the Museum through collaborative work with Carter staff. Their practices range across a variety of topics, media, and themes, each bringing a unique point of view to the program.

From January through December, our 2026 Carter Community Artists will bring their skills and perspectives to events and projects as they make connections to the Museum’s expansive collection, exhibitions, and rich history with the local community. Each artist is expected to contribute between 20 and 40 hours over the course of the year. Participation includes a $100/hour honorarium, with hours varying by project.

Follow the Carter on social media at @amoncarter for updates and more information.

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