Our City enjoys a legacy of living with art that began in the 19th century with the Fort Worth Public Librarys first painting purchase
by George Inness. In 2005, the works of nationally renowned artists Vernon Fisher and Donald Lipski were installed in the Fort Worth Convention Center —- the first commissioned artwork by FWPA. Fort Worth Public Art is taking steps to ensure the preservation of the collection for future generations, even as we acquire innovative new works for sites throughout Fort Worth.
Untitled (Historic Murals – Auditorium)
Untitled (Historic Murals – Coliseum)
Untitled (Historic Murals – Cattle IV)
Water Crossing Markers and Trinity Water Fowls
Buildings for Pleasure Grounds, Parks and Playgrounds
Untitled (Historic Murals – Cattle I)
Untitled (Historic Murals – Cattle II)
Untitled (Historic Murals – Cattle III)
Western Heritage Parking Garage Murals
Membrane Technology:Sources/Filtration (Painting)
Marine Creek Park Corridor Enhancements and Markers
State Highway 121 Art and Landscape Project
Anita Knox, Earline Green, Frank Frasier, Tina McIntire
Guinn School Plaza – Vertical Artwork
East Rosedale Street (287 to Miller)
Lake Como Park Public Art Master Plan
East Rosedale Street (Miller to Stalcup)
Polytechnic / Wesleyan Urban Village
Handley-Meadowbrook Recreation Center
East Lancaster Traffic Signal Control Cabinets
Como Community Center Public Art Project
Noted as one of the worlds foremost kinetic sculptors and known for his signature grinding patterns, Rickey created mobile objects that were set in motion by natural forces. Twelve Triangles Hanging is a beautiful example of Rickeys simplified style in which raw materials are highlighted and subtle surfaces are aggressively burnished to reflect ambient light. This sculpture was partially funded by a grant from the National Endowment for the Arts.
The citys oldest existing painted mural. As part of an Art in Public Places project in 1974, Fort Worth artist Stuart Gentling was one of nine artists to paint large scale murals on downtown buildings. His untitled mural featuring a horizontal zipper refers to the 1974 building occupant and noted work clothing manufacturer Williamson-Dickie. Commonly referred to as the Zipper Mural, it is the only surviving mural from the project and has become a favorite downtown landmark. A restoration was approved by the Fort Worth Art Commission in 2005, but before the artists final design was approved he died suddenly. As a way to honor him, the artists family chose to proceed with the project. A new design, a single, standing feather, was created by sister, also a well-known local painter, Suzanne Gentling.
Wind Roundabout is the first-of-its-kind, free-standing piece created by artist Ned Kahn. It was commissioned by the City of Fort Worth through the Fort Worth Public Art program for the Panther Island Bridges project, part of the Trinity River Vision Master Plan. Thousands of small anodized aluminum hinged plates hang from tension cables on a 30 foot tall by 30 foot diameter stainless steel support structure, moving with the ever-changing direction and force of wind in Fort Worth.
Tabachin Ribbon, by Yvonne Domenge, is one of four pieces from the series Interconnected: The Sculptures of Yvonne Domenge. This 13 foot in diameter carbon steel sculpture, an abstracted representation of the Tabachin Tree found in Mexico, was donated to the City of Fort Worth in 2014 after a temporary exhibition in Chicagos Millennium Park. Yvonne Domenge, an internationally acclaimed sculptor and artist, describes her work as being fluid and alive and representative of nature. This elegant artwork brings together organic forms and man-made objects in its final home in front of Fort Worth City Hall.
Lancaster Avenue (Lamar to Commerce) Fort Worth, TX 76102
Composed of stacked, laser-cut stainless plates, Avenue of Light draws inspiration from the zigzag motifs on the nearby facades of the Texas & Pacific Terminal and Warehouse buildings. Spanning the half mile length of Lancaster Avenue, these six sculptures honor the past with the use of contemporary forms and materials. To celebrate annual events and special occasions, the towers are illuminated at night in different colors.
Born in Forth Worth in 1929, Jack Bryant became known for both his realistic paintings and his bronze work – generally of animals, landscapes and historic cowboy themes. Bryant has two works in the City of Fort Worth, including this one, which depicts a firefighter rescuing a small child, which stands in front of Fire Station 2, the citys oldest operating fire station. The statue was dedicated in honor of the 100th anniversary of professional firefighting in Fort Worth, and now belongs to the Fort Worth Public Art Community Legacy Collection
Early Texas describes the expansive and entrepreneurial spirit of the artists home state. Early settlements, rivers, and native wildlife are delineated by delicate marking and tracings of the legendary cattle trails that helped define the economic vitality of nineteenth-century Texas. The diptychs separation reflects Fishers interest in storytelling and how memory and intuition create understanding and perception. Modern Texas, portraying Fort Worth in the early-twentieth century, focuses on urban life. As in Early Texas, the central vignette depicts an expansive sky, but here the artist features the citys prominent skyline and broadened Trinity River. The distant viewpoint implies the future with the potential for growth and prospect for change.
Donald Lipskis signature style of creating whimsical installations from commonplace objects uses metaphor to evoke Fort Worths unique western heritage. Beloved hats donated by native and honorary Texans celebrate the friendly nature and collaborative spirit of Cowtown. The witty title is both a comment on the passionate attachment cowboys and cowgirls have to their hats and an anagrammatic gesture of thanks to the industrious hat wrangler Garlene Parris.
At the turn of the twentieth century, Fort Worth was home to the largest livestock market in the Southwest and the Cowtown legend became embedded in the citys identity. A longhorn affectionately named Molly emerged as the Citys official mascot, commemorating the cattle industrys impact on the Citys commerce and growth. The sturdy, independent, and highly-adaptable breed has come to symbolize Fort Worths spirit.
Downtown Fort Worth Houston Street Parking Garage
The total installation of colored glass, sculpture, and sound within the parking garage calls attention to the aesthetic experiences of the everyday. The site-specific work incorporates the chevron designs of the citys Art Deco and Moderne style buildings, as well as the voices of local news commentators, celebrities, and wildlife. Through an immersive experience, commonplace sights and sounds become a complex orchestra that transforms garage patrons into artistic participants.
Taking its title from a work by the poet Langston Hughes, Freedom Train honors the contributions of African American railroad workers. Located inside the 1931 Texas & Pacific Terminal, a historic water fountain and bench accompany Gottfrieds stainless steel silhouette timeline representing the African American experience from the days of segregation to the present. Embellished bronze plaques provide historic context and tell the story of State Representative Garfield Thompson, a former dining car waiter on the Burlington-Rock Island Railroad.
The John F. Kennedy bronze sculpture is part of a permanent interpretive exhibit and plaza sited in General Worth Square in downtown Fort Worth. Created by Texas artist, Lawrence M. Ludtke, a National Sculpture Society Fellow recognized for his portrait and figurative work, the sculpture commemorates Kennedys last day in the City of Fort Worth.
A marble bust portraying John Peter Smith (1831-1902) sits on top of a tall granite base. John Peter Smith was an important Fort Worth leader and philanthropist. A historical marker at the sculpture details his many achievements and altruistic contributions. As Mayor Smith directed the establishment of many municipal services, including the school system and the Water Department. He donated land for parks, cemeteries and a city hospital, which bears his name and is still operational. Smith died in 1901 in Missouri while on a promotional trip for the city. He is buried in Oakwood Cemetery, land that he donated to the city.
Franklin Street at N. Taylor Street
Erected in 1893 by the Womens Humane Association to commemorate the heroic efforts of Al Hayne, the British civil engineer credited with saving over a dozen lives from the tragic 1890 fire which consumed Fort Worths first significant building, the Texas Spring Palace. Hayne was the sole fatality and died from injuries sustained in the fire. The monument is owned by the City of Fort Worth and was accessioned by the Fort Worth Art Commission in to the Fort Worth Public Art (FWPA) collection in 2006.
Landscape painting by Texas artist Jim Woodson.
Will Rogers Memorial Center Auditorium
Will Rodgers Memorial Center Coliseum
Given to the City of Fort Worth in loving memory by the family and friends of Charles David Tandy. This sculpture honors Fort Worth businessman, philanthropist and civic leader Charles David Tandy (1918-1978), Texas Christian University class of 1940. Through strategic marketing and diversification, he transformed his familys wholesale leather business into the Tandy Corporation, the worlds largest retailer of consumer electronic products. The Burnett Foundation, originally the Burnett-Tandy Foundation, established by Anne Burnett Tandy to honor her late husband, continues a legacy of charitable giving and community support.
Will Rogers Memorial Center – Equestrian Multi-Purpose Building
This bronze was commissioned by the board of directors of the southwestern exposition and livestock show and dedicated as part of its centennial celebration. John Justin, born January 17, 1917 in Nocona, Texas, grew up working in the Justin Boot company factory which was founded by his grandfather. After attending Texas Christian University he returned to the boot business in 1949 and three years later became Justin boot company president. John Justin was elected to be chairman of the board of the Fort Worth Stock Show and Rodeo in 1982, and served as Mayor Pro Tem in 1959 and 1960 and Mayor from 1961 to 1963. This sculpture of Justin on his favorite mount Baby Blue was created in 1996, and now belongs to the Fort Worth Public Art Community Legacy Collection.
Water Crossing Markers is a series of ten columnar markers along the Chisholm Trail Parkway. Each marker is placed at a location where the parkway crosses a tributary of the Trinity River, and features a mosaic image of wildlife from the watershed. At the Clearfork tributary crossing, six bridge monuments feature glass and stone mosaics of twelve different species of water birds, each measuring 8 feet tall and 5 feet wide.
Buildings for Pleasure Grounds, Parks and Playgrounds is an architectural rendering by Fort Worth architects Wyatt C. Hedrick and Elmer G. Withers for the Texas Centennial celebration of 1936. The design shows both classical revival and modern building styles and includes the coliseum, auditorium and memorial tower in addition to two auxiliary buildings – a casino / banquet hall and a merchants / automobile exhibit hall – which were never realized. Wyatt C. Hedrick was one of Fort Worths most prolific architects between 1920 and 1960.
Will Rogers Memorial Center – Equestrian Building
Reining, Soapsuds, Wimpy, Arabian, Paints, Appaloosa, and Cutting. Continuing Fort Worths long equestrian tradition, award-winning breeds and exhibitions of expert horsemanship are on display at the Will Rogers Memorial Center each year during the popular Stock Show and Rodeo. Displayed on the exterior of the Center, this series of murals features four distinguished breeds and portraits of Wimpy, the first registered American Quarter Horse, and Soapsuds, Will Rogers own beloved horse.
This series of mosaic murals illustrate the iconic individuals and events that represent the spirit of Fort Worths western heritage. Based on historic photographs from local archives, the murals collectively portray talent, bravery, and cultural diversity, and complement the nearby Art Deco architecture of Will Rogers Memorial Center buildings.
Hats, a whimsical installation of five limestone sculptures by Fort Worth-based artist Cameron Schoepp, was created during the 1999 Sculpture Symposium, an Arts Council of Fort Worth and Tarrant County initiative that started city-wide conversations about public art. For over a decade, the installation was sited in General Worth Square in downtown Fort Worth. It was relocated to the Cultural District in 2013 where it complements the classic modern architecture of the ONeil Ford designed building that houses the Fort Worth Community Arts Center.
Dreams at 100 Fathoms depicts a swimmers underwater view bathed in sunlight. Abstracted patterns and a kaleidoscope of color allude to the duality of memory and imagination, evoking the creative potential associated with childhood games and activities.
Monumental spurs and decorative leather belts transport visitors of the Historic Stockyards into the legendary world of cattle drives and the old west. An immersive experience, Rodeo Plaza also includes artistic elements integrated into seating and architecture throughout the street – reminders of the industry that built Fort Worth – horseshoes, cowboy boots, and cattle brands, each inspiring images of ranchers and cattlemen driving their steers through the stockyards.
Themes of non-violence and personal responsibility are narrated in Manuel Publidos two-part mural inspired by a multi-cultural folktale. The progressive unveiling of the starry sky, representing metamorphic change, begins the illustrated tale of Chan Luum, daughter of the great creator, who learns to care for the natural world only after a self-reckoning experience darkens the sky.
1500 North Main Street, Fort Worth, Texas 76164
Vaquero de Fort Worth pays homage to the economic and cultural contributions of the Mexican cattle-herders whose traditions gave rise to western cowboys as we know them today. An authentic look at the vaqueros nomadic way of life, this sculpture includes historically accurate details carefully rendered in bronze. As a community initiated project, Vaquero de Fort Worth was the result of collaboration between the artists and dedicated local foundations, businesses, and individuals interested in commemorating and preserving Hispanic history.
In celebration of the historic cattle drives of Fort Worth, Dewey Street Bridge features imagery drawn from the clothing and objects of cowboys and cowgirls, whose lifestyles revolved around the use and care of horses. Leatherworking motifs from saddles and boots are cast into the concrete bridge in subtle bas-relief. The five pointed star, a treasured emblem of the Lone Star State, is integrated into mosaic medallions on the sidewalk, carefully oriented towards a future hike and bike trail nearby.
One of Fort Worths most influential sculptors, Charles Williams has long been recognized for his innovative exploration of abstract form and inventive use of new materials. Solar Disc, created late in the artists career, was fabricated from industrial stainless steel discs. The two opposing convex circles are carefully calibrated to emphasize a sense of depth and introduce the element of balance. Reflecting light from all directions, the spheres radiate a dynamic flow of energy that evokes celestial associations.
A visual play between form and function, Bench invites viewers to have a seat, but the abstract forms that protrude from the surface impede any practical usage of the sculpture. This piece was created during the 1999 Sculpture Symposium sponsored by the Arts Council of Fort Worth and Tarrant County. Afterwards, the artist donated this sculpture to the City of Fort Worth, and it is now part of the Fort Worth Public Art Community Legacy Collection.
Created in 1998 and part of the Fort Worth Public Art Community Legacy Collection, Fishing Rock is installed in a pond at the Fort Worth Botanic Gardens, and depicts three large herons sunning themselves, each with their wings unfurled. This sculpture won the 2001 Silver Medal at the National Sculpture Society Annual Awards Exhibition.
Each of these four finials marks the corners of the courtyard in which they are placed. They are each placed upon cast concrete plinths atop a brick wall. Cast in sets of two, each depicts natural elements, both sets being covered with cast leaves and vines. One pair has various birds and a birds nest with baby birds protruding from the leaves. The other pair has squirrels and a rabbit at the base.
Hand carved and sanded from a single piece of limestone, Bull is composed of both geometric and amorphous forms. Situated close to the ground, the piece recalls the connection between livestock and agriculture. The sculpture was carved at the conclusion of the 1999 Sculpture Symposium that was sponsored by the Arts Council of Fort Worth and Tarrant County; and Powell later donated it to the City of Fort Worth. It is now part of the Fort Worth Public Art Community Legacy Collection
Each of these four finials marks the corners of a courtyard in the Fort Worth Botanic Gardens. Cast in sets of two, each depicts natural elements and is covered with cast leaves and vines. One pair has various birds and a nest with baby birds protruding from the leaves. The other pair has squirrels and a rabbit at the base.
Chiseled onto one side of the monolith is local animal life, and on the other is a pictographic representation of both natural and cosmic elements: sun, moon, stars, and water. This combination unites the botanical garden of the site with the cosmic garden of the sky to create a form that bridges worlds.
Commissioned through the Botanic Garden Moncrief Endowment.
This bronze relief represents a period of exciting technical innovation in bronze casting by Fort Worth artists at mid-twentieth century. An apprentice to Charles Williams (in 1961), Ed Storms developed a facility for transferring the freedom of gestural abstraction to the medium of sculpture. Vision of the Third Eye exemplifies his improvisational manner of making sculpture and in its energetic, organic quality he reveals his fascination with the writings of Lewis Carroll.
A frontiers woman, her sleeves rolled up suggesting she had been working with her hands, waves to company either arriving or departing. Her strength and spirit are expressed through her appearance and stance. She embodies the hard working woman tending to her home and land while the men are away on a cattle drive. This bronze statue was donated to the City of Fort Worth in 1990 and resides in the Fort Worth Botanical Garden where Spirit of Woman waves to visitors of the gardens.
Created during the 2000 Sculpture Symposium in Fort Worth, Pollen, is a seven-piece sculpture made from Texas Granite and Terrazo. This was Shoepps second year to participate in the Sculpture Symposium, an event that brought awareness to the need for public art and gave the public the chance to interact and understand the processes of the artist. These seven pieces, displayed at the main entrance of Fort Worth Botanical Gardens and the BRIT, are multi-sided objects suggesting a theme many North Texans are familiar with, pollen. Pollen interacts with its environment physically and figuratively as it spreads itself in nature.
Hazel Harvey Peace Center for Neighborhoods
Depicting residents from the Evans/Rosedale neighborhood engaged in healthy outdoor activities, For Better Life is a representative of Floyd Newsums animated painting style and underscores the value and fun of family and community engagement. Each of the vibrant, cheery scenes supports the values of excellence and fair play, themes modeled by Hazel Harvey Peace, the important African American educator and community activist for whom the Center is named.
Fort Worth Police Department Crime Laboratory
Artist Tommy Fitzpatrick designed this simple but elegant silhouette to be displayed on three faades of the Crime Laboratory tower. The organic forms and lyrical lines of the designs were inspired by the trout lily, a wildflower that grew abundantly in the prairies that once covered this region of Texas. Moving upwards through the floral shapes are three vertical lines referencing the interurban rail line that was once a vital part of the Lancaster corridor.
Service through the Centuries is a three-part panoramic history of the Evans and Rosedale neighborhood told in fifty year increments. Progressing from the late nineteenth to the early twenty-first century, the compositions captures the changes in architecture, technology, and uniform styles that have taken place around Station 5, including three historic fire station buildings. The murals increasingly saturated colors allude to modernization, while the benches shades of blue reference water as an enduring firefighting tool.
Local artist Michael Pavlovsky designed this series of twenty four sculptural panels as colorful, graphic anecdotes of the bustling activity happening in this vibrant and busy neighborhood along East Lancaster Avenue. Some designs celebrate the work of individuals at nearby police stations, public transportation hubs, churches, and homeless shelters, but scattered within this narrative are renderings of native animals and plants, adding a lyrical and organic touch to the streetscape.
Letitia Huckabys installation reflects the heritage of the Evans & Rosedale neighborhood and the Fort Worth-based artists exploration of genealogy, history, and themes of family and community. The window design, inspired by traditional African-American patchwork quilts, combines Huckabys contemporary portraits, historic photographs and blocks of colored glass, visually linking past and present. A mosaic river of tile and stone winds through the library from the entrance patio to the literary garden becoming a metaphor for the journey of life and continuity of traditions.
Fort Worth Animal Care and Control Center
Friends for Life articulates the intimate and mutually rewarding bond that is possible between animals and humans. Alice Bateman, a local North Texas artist and ardent animal lover, created this functional artwork that also serves as a much-needed outdoor enclosure at the Fort Worth Animal Care and Control Center, providing a safe and natural way for adopters to meet potential animal companions.
Hazel Harvey Peace Center for Neighborhoods
This signature artwork at the Hazel Harvey Peace Center for Neighborhoods commemorates the woman for whom the building is named. The glass mosaic reveals the legacy of the legendary figure that inspired excellence in the lives of so many. Made up of a wide assortment of glass beads and cut-glass, Consequential establishes a timeline through a series of flowing swirls and circles directing focus to the various important moments of Ms. Peaces life.
East Lancaster Avenue and Handley Drive, Fort Worth, TX
Rooted in historic narrative and childhood memory, Train celebrates the late nineteenth and early twentieth century steam-era locomotives that roared through east Fort Worth and were largely responsible for the development of Handley, Texas. Set on end, the stylized engine, tender, and passenger cars act as a powerful metaphor for community identity. Handley, now a national historic district, became part of the City of Fort Worth in 1946.
Rolling Hills Water Treatment Facility
The five ascending rings of light integrated into the Rolling Hills Radio Tower over three hundred feet in the air were inspired by the classic RKO Radio Pictures trademark – the most recognizable and compelling symbol of communications technology during the Golden Age of Hollywood. The rotating color palettes represent colors found in nature and coincide with the changing seasons. On the 4th of July, a celebration in red, white and blue illuminates the tower.