Docent in Training - Our Mentors

Hello again,

This weeks meeting was really exciting as we met our mentors. Some of the active docents have given their time to help us become ready to guide interested parties through the museum. After meeting them the mentors gave us some object interpretations and believe me it was most interesting. As I mentioned last week I stepped on my own tongue during my object interpretation, so, it was great to see how it really should be done.

I will list three of them. I have not yet asked permission to use names in this blog so will not name who gave which presentation. If I did not use your example and you read this blog, my apologies, it was not your interpretation just my need to conserve space. The point of tonight's exercise was to show different ways to interpret objects on our tours.

First was a brief talk about the museum itself including the Henry Moore sculpture in the front of the museum.

Henry Moore Sculpture

 Here is a picture of the sculpture. It exhibits all of Moore's strong, solid artistic ability.

Alexander Calder Study

Inside of the museum is the Alexander Calder study that was considered but not used. A beautiful piece and in my opinion, it displays Calder's playfulness.






















When viewing the very large Remington work Dash for the Timber we were asked what sounds would we hear if it was possible to hear the painting. Answers were horses' hoofs, Indians yelling, guns firing, pans clattering. We were then asked to emulate these sounds as a group. Imagine the fun of a bunch of adults making loud sounds. This is a great way to get people to really look at an action painting.

Dash for the Timber - 1889 Frederic Remington

 Another way to have people look at art is to do a comparison between two objects. The works, of course, need to be close enough to each other for a comparison. The active docent doing this interpretation chose two excellent examples.

Attention Company! - 1878 William Harnett

Attention Company! is one of William Harnett's few portraits. He was a trompe l'loeil (fool the eye) painter and mostly painted still lifes. He was an Irish-American painter and was born in County Cork Ireland during the time of the potato famine.

Woman Standing - 1878-1879 Mary Cassatt

Mary Cassatt was an impressionist painter from Pennsylvania that was befriended by Edgar Degas upon moving to Paris, where she spent the rest of her life. She exhibited with other impressionist painters and is best known for her women and children works.

We were asked to compare the two works for differences in the subjects. Notice I said subjects because it is obvious they are painted in two different styles. Two of the answers were: the young man is gazing out intently at you where the woman seems to be unaware she is being observed. The young man is poor as shown by his clothes where the woman is one of privilege, again as shown by her clothes. This is just another way to get people to really look at the painting. Perhaps you can also see differences in the subjects.

Our next class is not until Jan 3, 2019, and will be on 20th-century photography.

Until then,

Caroline

Docent In Training - First Attempt at a Object Interpretation

Hello again,

I have a friend that uses the expression "Don't get tangled up in your own underwear". But that is exactly what I did during my first object interpretation. I became so involved with all of the facts about the artist I forgot the object. Georgia O'Keeffe was my artist and believe me there is enough written about her to give long talks on, but people can look all that up on their own. What they come to an art museum to experience is art, not some long-winded docent rolling out fact after fact about the artist.

Rancho Church

What I should have been talking about is above. What I talked mostly on is below. Georgia and Alfred.

I started with the question "would there have been a Georgia O'Keeffe without an Alfred Stieglitz." I would not have asked that question had the group been any other than my classmates. It was and is a good question but asked at the wrong time. I should have discussed the beautiful mission first before even talking about Georgia and Alfred. Lesson learned.

Others of our group did a much better job. I was impressed with their skill and really enjoyed the evening. Below are two of their choices for object interpretation.

Fall of the Cowboy - Frederick Remington 

Crossing the Pasture - Winslow Homer

Next week we are assigned our mentors. Cannot wait.

Vaya con Dios,

Caroline

Docent in Training - Sculpture and Painting in 20th Century

Hello again,

Grrr! I had this post complete, I thought it was saved but Blogger was pulling the wool over my eyes and all was lost. Try, try again.

This weeks class was about 20th-century sculpture and painting with a bit of history thrown in. It was not live but a wonderful presentation recording of curator Shirley Reese-Hughes served as a great stand-in. In a way, it might have allowed us to concentrate on the PowerPoint presentation more. As usual, I will only hit a few of the highlights as she covered far too much territory for this little blog.

First up:

Chef d'Orchestre 1919

This simplistic stained Cherrywood sculpture by Elie Nadelman says so much with so little. Elie was born in Poland and was aided by Helena Rubenstein, she who owned the great makeup empire, in coming to America during World War I. There was a lot of antisemitism at the time.  He was interested in folk art as the beautiful Chef attests to. He and his wife lived well, collected folk art and even opened a museum to exhibit it. However; the stock market crash took it all. Elie taught sculpture for art therapy at the Bronx Veterans Hospital. Sadly Elie committed suicide when he found out the fate of many of his relatives in Poland during World War II.
.

Elie Nadelman (1882-1946)

For a more in depth discussion on Eliasz (Elie) Nadelman see this web page About Elie Nadelman

Louise Nevelson (1899-1988)

Another sculpture presented to us is by Louise Nevelson who was brought to America in 1905 by her family to escape an oppressive government in the Russian Empire. Again antisemitism.

Louise was recycling before it became cool. Her works were created with found wood objects. She put them together and painted the resulting sculpture a brown color. To me, they look like they belonged together all the time. Stunning work from a woman when women were not encouraged to be artists. Louise was very successful. One of her quotes is "I only know you can't give advice to an artist" maybe that type of courage is why she was so successful. I would like to ask her why she called this piece Lunar Landscape. You will find out more about Louise here About Louise Nevelson

Lunar Landscape 1959-1960

You might be thinking that the artists above were not born in America. That is OK as the art represented was made in America making it American art. Speaking of made in America, the next artist is one of the best this country ever produced. The one and only Georgia O'Keeffe. What a free, creative and talented spirit she was. I do not need to give you a website for Georgia. just google her and you will find hundreds. Her husband was the artistic photographer Alfred Stegliest. You can see her strong beauty in one of his many photos of her below.

Georgia O'Keeffe (1887-1986)

Although Alfred lived in New York and Georgia lived in New Mexico their love continued on. She exhibited some of her paintings in his studio. You can see the age difference in the photo below

Georgia and Alfred

Georgia's magnetic beauty is captured in this photo by Alfred below.

Now to show you a couple of her works. She loved flowers but did not try to capture the whole flower. This made her work even more interesting. She was disturbed that critics called some of her paintings sexual as that was not her intent. Notice how she draws your eye to the center of the flower by putting a bit of vertical yellow. A computer screen cannot possibly show the sheen and real beauty of this flower.

Red Cannas - 1927

Before we leave Georgia I have one more picture of hers. This particular church has been photographed and painted by many artists. Each in their own unique style. This is the back of the church found to be more interesting than the front. If you get to Taos, New Mexico check it out. Maybe do your own version of it.

Rancho Church - 1930

You do get a sense of the bare landscape in the area. Artists loved this area and as you may know, there is a big art colony in Taos and Santa Fe. You might even spot an alien or two if you look closely.

 I have one more of the many artists shown to us in this class. He is Charles Demuth from Lancaster, PA. I chose him because like Georgia he is one of my favorites.

Charles Demuth (1883-1935)

Charles painted beautiful watercolors and only turned to painting with oils later in his life. He was part of the precisionism movement. I am totally in love with his work. Spouse and I had a chance to go through his museum in his house in Lancaster. It is well worth the trip. See more on Charles here More about Charles Demuth.

Talk about a small world. Charles was part of the Stieglitz group and was friends with Georgia O'Keeffe. He drew and painted many of the buildings in his hometown Lancaster. his work defies description so let us take a look at one.

Chimney and Water Tower - 1931

Now you can see why it is called precisionism. Every part of this painting is so well planned and splendidly executed. A very limited palette is all that is needed to achieve a painting that one can get lost in. Nothing goes to waste here.

Well, we made it to the end, again, and I believe this time I will be able to publish it. Remember you can get a taste of what is in the ACMAA here http://www.cartermuseum.org/


Until next weeks class,

Caroline

Docent In Training - 19th Century Photography

Hello again,

Cannot believe it has been two weeks since last class and since I last posted a blog. A lot of things has happened but here is the blog as promised.

Class was a very enlightening and entertaining journey into the history of photography. We all gathered at a table while John Rohrbeck, Senior Curator of Photographs, took us through the start of photography in the 19th century up to the 1890s. It included Daguerreotypes such as this one. The below print is a one-of-a-kind as are all Daguerreotypes. The ladies are unknown but in my opinion they are very charming. Think about it; we know nothing of their lives but they will be able to be seen for as long as this photograph exists. Here is a link to the ACMCC photographs shown on the web ACMAA Photographs. They cannot possibly have all 45,000 prints on the web but you will see a sample. I have borrowed a couple of the images shown on the website to give you a sample.

Two Women Posed With A Chair - 1850
Albert Sands Southworth (1811-1894)

I will not attempt to educate you on the different types of photographic processes used in the 19th century as it would just fill up this valuable space with a lot of facts and figures. I will however give you a link from the ACMAA that explains it all in a PDF. ACMCC PDF on photography processes. 

In an age where our phones are our way of recording and instantly sharing our lives, down to what we eat,  it is difficult to realize how important being photographed was to the people of the 19th century. Even the dead were photographed as a record and for remembrance. Before photography a person would have to have a portrait painter create their portrait and since there were different levels of skill the paintings sometime left a lot to be desired. But being photographed was not easy either as one would have to sit still and not blink for a long time. No wonder most people look stern and at times a little goofy.

Photography was not only used for portraits it did become a way of showing people the great western frontier such as this Albumen silver print.

Ancient Ruins in the Cañon de Chelle, N. M. in a Niche 50 Feet above Present Cañon Bed, 1873 Timothy H. O’Sullivan (1840–1882)

You should keep in mind that the image on paper could only be as large as the negative which was a glass plate. Imagine how difficult it was for the photographer to create images such as above and below. When people viewed these works they wanted to see the West and photographs such as these are responsible for a great deal of the travel west. The photographs also had a great deal to do with the establishment of national parks.

Canon of the Rio Las Animas, 1882William Henry Jackson (1843–1942)

One also has to remember that photography was used extensively to record the Civil War between the states. Since they did not have cameras that could record action they had to stage the shots. It must have been terrible to walk through the remnants of a battlefield with the carnage and smell to take the photographs. Just as photographs of the Viet Nam war made people aware of how horrible war really is, the recording of the Civil War made people aware that it was not the glorious adventure they thought it would be. Since I am a bit of a pacifist and an 'old flower child' I will not go into my thoughts on war.

Burying The Dead by Timothy H. O'Sullivan

However photographs recorded much, much more than death and gave us a great history of the Civil War. Check out the National Archives selection at National Archives civil war photographs to see a wealth of photographs on this subject. The photograph above is from their selection.

In January we will have a class on 20th century photography and I will use that class to go deeper into the social aspects of how life and minds were changed by photography and indeed writing. Also we will discuss how photography became an art form. But next is 20th century painting and sculpture. Unfortunate that I missed the first class on this subject but will catch you up the best I can.

In the meantime take a bit of time to explore the wonderful world of photography.

Until later my friends,

Caroline 

Docent in Training - Introduction to Photography

Steamfitter 1921 - Lewis Hine (1874-1940)

 Hello,

You should be able to guess what this weeks class was about by the photograph above. You got it: photography or rather an introduction to the history of photography. In an era where anyone that has a smart phone and snaps pictures right and left; it is easy to forget that true photography exists. But it does and the Amon Carter Museum of American Art (ACMAA) has one of the most important collections of this medium to be had. Below is from the museums web page.

The Amon Carter houses over 45,000 photographic prints, making the museum one of the country’s major repositories of American photography. The holdings span the history of the photographic medium, from one of the earliest daguerreotypes made in this country to inkjet prints being made today. Because of the fragile nature of photographs, the works on view change frequently and may not include images featured on the website.

If you are not close enough to the ACMAA to visit here is a link to some of the collection. http://www.cartermuseum.org/collection/photographs. No, they do not have all 45,000 prints on the web page and of course you will not be able to see all of the collection, but there will be something on view as mentioned above.

Photograph means writing with light from the early Greek. It has also been called by some painting with light. Either is an apt description of photography because light and a means to record it are essential. If you are interested in the history of photography please visit this web page http://www.photo-museum.org/photography-history/

Now the ACMAA would not have such an extensive selection of photography if in the early 20th century a group led by Alfred Stieglitz had not created the Photo-Secession group. They believed that photography can be an art form and I among many, many others totally agree. A beautiful silver gelatin print such as the one above and the two below can take my breath away.

The one of Georgia O'Keefe was taken by her husband Alfred Stieglitz and the ballet slippers was taken and printed by my husband Dave Laskowski. The ballet slippers are not part of the Amon Carter collection.  I urge you to look at photography as the beautiful art form it is.

The last part of the class had to do with how to engage visitors to the museum while giving a tour. It was fun. Next week we will go behind the scenes with the photography curator. A class I am very much looking forward to.

Will let you know how it goes,

Caroline

Docent in Training - Monday Morning With a Wonderful Teacher

Hello,

We did not have a class last Thursday but were rewarded with an invite to participate with the active docents in a class today, Monday. The teacher was Dr. Laura Evans from North Texas University. Our class was about the fundamentals of art, elements and principles, what any artist professional or amateur needs to know. It does not matter if the creation is 2-D or 3-D or the style, the basics have to exist for the piece to work. A docent in an art museum can use the knowledge of these fundamentals to help guests really look at the art pieces. It is a thin line when using them as one does not want to have people's eyes roll back in their head from too much information at one time.

I cannot possibly write for you all that Dr. Evans has taken years to learn and the small part of her knowledge she taught us, but I can offer you a piece of art and ask you to analyse it using the list of elements and principles. Give it a go, it will be fun and who knows, you may learn a thing or two.

Wrapped Oranges - 1889 William J. McCloskey

For more information on McCloskey visit this website https://www.bowers.org/index.php/collection/collection-blog/william-j-mccloskey

This painting is another wonderful piece in the Amon Carter Museum's collection http://www.cartermuseum.org/collection. Let's look at it using the fundamentals of art.

 The Six Elements of Art:

Line - a line is a mark with a greater length than width. It can be curved or straight; horizontal or vertical or diagonal; thick or thin.
Shape - a closed line.
Form - a three dimensional shape expressing length, width, and depth.
Space - is the area between and around objects.
Color - a light reflected off of objects.
Texture - The surface quality that ca be seen and felt.

The elements of art are the building blocks used by artists to create a work of art. The principles of design describe the ways that artists use the elements of art in a work of art.

The Nine Principles of Design:

Balance - the distribution of the visual weight of objects, colors, texture, and space.
Emphasis - the part of the design that catches the viewers attention.
Movement - the path the viewer's eye takes through the work of art, often to focal areas.
Pattern - the repeating of an object or symbol all over the work of art.
Repetition - works with pattern to make the work of art seem active.
Proportion - the feeling of unity created when all parts relate well with each other.
Rhythm - is created when one or more elements of design are used repeatedly to create a feeling of organized movement.
Variety - is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through and around the work of art.
Unity - the feeling of harmony between all parts of the work of art, which creates a sense of completeness.

See how many elements and principles you can locate in Wrapped Oranges. This is not a test and I cannot see what you come up with unless you wish to comment.

Thursday the 1st of November we have regular class. I will let you know how it goes.

Until then,
Caroline

Docent in Training - Second Evening With a Curator

Happy Rainy Friday the 19th of October,

Last nights class was as excellent as I expected. Curator Maggie Adler contains a wealth of information, but alas, she is also a very busy woman so I did not get to ask her a couple of questions about how a curator goes about their business. Maybe as the months roll by I will get a chance to speak with her one-on-one. Texas Christian University was also having guided tour classes last night and our docent instructor Nancy Strickland was able to attend them. Hope to find out more when we next meet in a couple of weeks.

In the meantime on to what you are reading this blog for. Sharing a few of the art and artists in the ACMAA (Amon Carter Museum of American Art) http://www.cartermuseum.org/collection that was discussed last night.

 William Merritt Chase 1849-1916) was a virtuoso artist and teacher experimenting in various mediums. The oil painting Idle Hours depicts Long Island's rural eastern tip. It shows Chase's wife, with two of his daughters and possibly his sister-in-law. Many Americans were craving a getting back to nature, not unlike today, and artists such as Chase painted just that.

Idle Hours - 1894

Docent In Training - First Evening With a Curator

Hello again,

This weeks class was presented by Maggie Adler curator of sculpture and paintings at the ACMAA. She presented and gave a background history of some of the 19th century arts in the collection of the ACMAA. I am so in love with lectures by persons with a passion for their work and Ms. Adler certainly has that. But passion is only a small part of the process. A curator has to know so much about art history that it boggles my mind. She will be teaching us again this next week on 20th century art of the museum and I hope to pick her mind, if permitted, about the process of knowing what is on the market and how to determine if it fits in the museum. Also knowing if it can be afforded is important.

Since you could not attend the class with me I will show you a couple of paintings that Ms. Adler presented and, give you a very brief description of the artist and, if possible, what lies behind the piece of work.

Johnson Martin Heade - Two Hummingbirds Above a White Orchid 1875-1890

Martin Johnson Heade - Thunderstorm on Narragansett Bay 1868

 Martin Johnson Heade (1819-1904) was born in Bucks County, PA. He is sometimes called a Hudson River School artist but he is also known for his hummingbird paintings, one of which is shown above. Unfortunate that the birds had to die to be still enough to paint. Hummingbird jewelry was also popular in that time period leading to an overkill of the beautiful little creatures. Heade had hoped to create a book on the South American birds but the cost was far too great so it did not happen. The Narragansett Bay painting was originally discovered in an antiques store in Larchmont, NY. Thunderstorm was the centerpiece of the show Ominous Hush: The Thunderstorm Paintings by Martin Johnson Heade at the ACMAA, among other museums, in 1994.

To learn more about Heade use this link
https://www.nga.gov/collection/artist-info.1381.html

Thomas Cole - The Hunter's Return 1845

  When one looks at this painting by Thomas Cole (1801-1848) one sees an idyllic scene. A hunter returning home with food, wife and children rushing to greet him, a cabin and gardens. Lovely, but, Cole is also trying to convey the destruction of the landscape. Note the tree stumps in the lower right of the painting. Recognized as the creator of the Hudson River School of painting Cole did not live a long life but made a great impression on the art world. It is ironic to me that Cole built a house in the area he most wanted to preserve.
For more on Cole follow this link
https://www.nga.gov/collection/artist-info.1155.html

Robert Seldon Duncanson - The Caves 1869

  Robert Seldon Duncanson (1821-1872) was one of few African-American painters in the 19th century. He left the country for Canada during the civil war. Some of his work is said to be references to slavery and he was popular with abolitionists. The caves may or may not have been used for underground rescue of slaves. Duncanson spent the majority of his career in Cincinnati, Ohio and helped develop the Ohio River Valley landscape tradition.

For more on Seldon Duncanson follow this link
https://americanart.si.edu/artist/robert-s-duncanson-1353


I will be posting again no later then this Sunday, October 21 on the class of the 18th which will be even more interesting. In the meantime if you are interested in the collection of the Amon Carter try this link. www.cartermuseum.org/collection.

Adios amigos,

Caroline

Docent In Training - Amon, Frederic and, Charles

His First Lesson - Frederic Remington 1903

Hello!

This weeks very interesting docent class was all about Amon G. Carter, Frederic Remington, and Charles M. Russell.  Dr. Ron Tyler, former director of the ACMAA, conducted the first part of the class which I prefer to call "How a Relationship Between an Oil Man and a Humorist Resulted in a Museum." Active docents kindly gave their time to give us talks on some art works by Remington and Russell.

One thing is for sure - the more you know the more you know you don't know. That is how I felt after the class which was one part art appreciation and two parts history. Both parts worked well to introduce us to two very well known western artists and one very well known Ft Worth businessman. I say introduce because it is impossible to cover three lives such as these in a short three hour period.

So how does the relationship between a true self-made millionaire, Amon G. Carter and one of America's best love humorists, Will Rogers, result in an art museum.

Amon G. Carter and Will Rogers

During the course of their friendship Mr. Rogers suggested Mr. Carter invest in Western art. His first documented purchases were the above Remington, "His First Lesson" and nine Russell water colors. He continued to purchase Remington and Russell works for many, many years. Mr. Carter loved Ft Worth and always promoted this area at every opportunity. Because he had been poor as a youth he stated his extensive collection of Western art should be displayed in a museum for all to see and enjoy. Thus the Amon Carter Museum of Western Art was created. Sadly he did not live to see the museum. The name has been changed to The Amon Carter Museum of American Art as it has grown to reflect American art from the beginning to the 1950s. More on that as we journey along.

The last half of the class was devoted to eight works by the two artists including "His First Lesson" above. each one portrays a period, albeit sometimes romanticized, in the American west. Each was described by the active docents as to what it meant and how it was achieved. Obviously the artists did a great deal of work in their studios however they had lived and worked in the west so were accurate in their translations. The history behind these works is fascinating but far too much for me to relate in a small blog. I have at least one question under each picture to give you something to research. Online searches will yield for you a wealth of information - or if close enough visit the Amon Carter Museum and check in it's library.

A Dash For The Timber - Frederic Remington 1889

 Question - how did Remington know all four feet of a horse could leave the ground at the same time?

The Bronco Buster Bronze - Frederic Remington 1914

 Two Questions - Where have you seen this bronze on TV and in movies? And what very famous president of the U.S. was presented one by a group he headed.

The Buffalo Hunt [No. 39] - Charles M. Russell 1919

Question - Why is this called No 39?

Indian Women Moving - Charles M. Russell 1898

Question - Why were the women in charge of all the tribes belongings?

The Medicine Man - Charles M. Russell 1908

Question - What do you think the tracks in the ground are?

The Fall of the Cowboy - Frederic Remington 1895

Question - What did Remington believe helped cause the demise or fall of the cowboy?

Through the Smoke Sprang the Daring Soldier - Frederic Remington 1897

Two questions - What does the yellow on their cloaks signify and who are they fighting?

Have some fun looking up the answers.

Adios until next week,

Caroline

Docent in Training at The ACM Library

Hello again,

Imagine, if you will, that you are invited into a room that contains most of what makes your soul sing and, you are told that it is all for you to use. In fact you are invited to make use of anything in the room. But wait, there is much, much more. You are taken through a door, down a hall into another room that holds even more treasures and, once again you are invited to use it. This was our joy in last nights class. We were conducted through the library at the Amon Carter and saw all the wonders it holds.

This is the Amon Carter Museum library reading room. The whole library, including what you do not see, has 4,743 feet of floor space, 2,328 shelves and 6,887 linear feet of storage. I could give you all of the numbers but I believe it might overwhelm.

Just a few of the numbers are:

52,000 book volumes
About 20,000 bound and lose periodical and journal issues
66,000 pieces of microform
About 10,000 auction catalogs
About 2,000 museum annual reports and bulletins
About 300 linear feet of clipping/ephemera material
A stellar collection of illustrated books, many  of which include original art

All available to us and you for research. You can browse and enjoy the reading room but there is a reference librarian to help you to other jewels in the back area.

Speaking of jewels I would like to thank Jon Frembling for giving us our tour and making history literally come alive with his descriptions of books, maps, and all items of interest. He showed us a camera that belonged to Laura Gilpin and gave us a visual of her taking photos at age 80 something with that camera from an airplane. Jon's passion for the museum collection was very easy to see and understand.

One last jewel is picture of Amon Carter with FDR concerning the land for Big Bend National Park. Between the efforts of Mr. Carter, J. O. Langford and E. E. Townsend this park became a reality. For more see this link.

Texas Gift to the Nation




I could go on and on but will not. If you ever visit the Amon Carter Museum of American Art please stop in the library. You will be amazed.

Until next class,

Caroline

Docent in Training First Class

Hello!

Welcome to my adventures as a volunteer or keeping a senior out of trouble.

I have been accepted to be a docent (teacher, tour guide) at the Amon Carter Museum of American Art in Ft Worth, Texas. This blog will be the journey it takes to achieve this wonderful opportunity. This is the first week of several months of study at the museum. As a class we had to introduce each other as if we were art works. Interesting to say the least.

My mind is in overtime with all I have to read and retain. The Amon Carter Museum has been in existence since 1961 which makes it young in the museum world; however it is a museum well endowed and has been under excellent leadership. This has allowed it to grow and expand from the western art collection, notably works by Frederic Remington and Charles Russell, given by Amon G. Carter to start a museum for the people of Tarrant County, Texas.




Charles Russell

Frederic Remington

Today spouse and I attended a themed tour at the museum of the exhibition "In Our Own Words": Native Impressions by artists Daniel Heyman and Lucy Ganje. Also included in the tour was the exhibit The Theatrical Wild West about William F. "Buffalo Bill" Cody. The native impressions is both very sad and yet hopeful. Mr. Heyman and MS. Ganje interviewed several Native Americans in North Dakota and created works of art based on what they heard. The most interesting part of Buffalo Bill is the fact that he was able to keep the show running for 30 years and had hundreds of people working for him, including Sitting Bull, Wild Bill Hickok, and Annie Oakley. Not to mention the hundreds of animals. Imagine the logistics that went into transporting all of them.



In Our Own Words



The Theatrical Wild West

There will be much, much more on this adventure and, if accepted, my adventure in becoming a master gardener certified by Texas A&M AgriLife Extension. Have to wait to see if I am accepted into that program. Why did I wait until age 77 to start all this? Well the business of life took up the first 76 and if not now it will never happen.

As Roy used to say,
Happy Trails

Caroline