Fort Worth, TX, October 29, 2024 — In September 2025, the Amon Carter Museum of American Art (the Carter) will present the first exhibition dedicated to the collection of businessman, philanthropist, and Texas native Charles Butt. Bringing together over 75 works, American Modernism from the Charles Butt Collection, presents and recontextualizes the multifold histories of American art by sharing Butt’s vision of American creativity and opening his collection to the public for the first time. American Modernism from the Charles Butt Collection premieres at the Carter on September 7, 2025, where it will be on view through January 25, 2026, as the first stop on a multicity tour at institutions throughout Texas.

The exhibition includes paintings and works on paper from the turn of the 20th century through the end of the 1970s and features works by American modernist icons including Romare Bearden, Edward Hopper, Joan Mitchell, Alice Neel, Georgia O’Keeffe, Alma Thomas, and Andrew Wyeth, among others, many of which have never been publicly viewed. Reflecting Butt's commitment to education and his keen entrepreneurial eye, his collection embodies a distinctly American commitment to technical, conceptual, and aesthetic innovation.

In conjunction with the exhibition, Charles Butt has also made a promised gift to the Carter of Rufino Tamayo’s The Family (1925). Considering Tamayo’s active role within the American Modernist movement, the promised acquisition of The Family, a foundational work included in the artist’s first solo exhibition in the United States, will add further depth to the story of American creativity told by the Museum’s holdings.

“The Carter is thrilled to organize and host this exhibition spotlighting one of Texas’ preeminent private collections and making it accessible to the Fort Worth and larger Texas communities,” said Andrew J. Walker, Executive Director of the Carter. “Expanding access to art and education is a priority for Charles Butt as it is for the Carter, and we are proud to help facilitate his continued engagement with Texas communities.”

American Modernism from the Charles Butt Collection features four thematic sections that illustrate major thoughtlines of Butt’s collection. These include:

• Intimate Perspectives: The exhibition’s first section explores the significance and role of intimacy and trust in artmaking. Pairing works by artists who had close relationships, “Intimate Perspectives” reveals the influence that interpersonal exchanges and confidences had on these artists and their output. Featured pairings include the friends Edward Hopper and Guy Pene Du Bois; John La Farge and Winslow Homer; and Thomas Hart Benton and his mentee Jackson Pollock. The section also features paintings of contemplative, private intimacy: from Romare Bearden’s personal depictions of families to Alice Neel’s Fire Escape (1948) which reveals a new, less-exhibited dimension of the artist’s work by deviating from her typical portraiture. Other works in the section encourage intimacy and close-looking in their small scale, like Georgia O’Keeffe’s My Backyard (1945).
• The Language of the Sea: The sea is a fundamental motif in the canon of art history, and following a childhood spent near the Gulf of Mexico in Corpus Christi, Texas, it is also a major influence on Charles Butt’s collecting practice. This section of the exhibition concentrates on artists’ connections to and associations with America’s coastlines, foregrounding the salient economic and socio-cultural symbols often found in marine paintings. Works in this section range from etchings of sailboats by celebrated Texas artist Mary Bonner, who went to study art and printmaking in France, where she depicted some of her first ocean views; and Thomas Moran’s recently discovered 1907 watercolor Smoking Ships at Sea that forebodes the dangers of maritime and industrial ambition; to more abstract interpretations of ocean views such as Ralston Crawford’s Bora Bora II (1975-76), where maritime motifs are merely suggested to direct focus to the visual and emotional weight of the sea.
• Land Progressions: This section explores the significance of land to the creation of American Modernism, and how artists subverted the familiar visual tradition of landscape art to respond to their environments. A unique display of early, mid-career, and late paintings by leading American modernist Marsden Hartley reveals the artist’s dramatic stylistic evolution through his depictions of the varying terrains in his home state of Maine and the dry climate of New Mexico. Other works in this section reflect the influence of industrialization and the threat it poses to American land. Prime examples from John Marin’s Weehawken Series, of which Butt has collected nearly every known work, depict changes to the land and sea by industrial encroachment in the harbor city of Weehawken in Marin’s home state of New Jersey. The artist responded to the turmoil with an innovative style that fused elements of Impressionism, Fauvism, and Cubism to convey the rapidity of change in modern America, devising an expression that would later influence a generation of Abstract Expressionists.
• Geometric Utopias/Dystopias: The exhibition’s final section consists of geometric abstractions alongside paintings depicting urban and rural post-industrial scenes: factories, farms, and machinery. Placed in tandem, the works in this section are emblematic of the fragility, and in some cases pessimism, of American society in an industrial age. Central to “Geometric Utopias/Dystopias” are female artists like Blanche Lazzell and Alice Trumbell Mason who saw themselves as revolutionaries, optimistically employing abstraction to create new visual styles and to break from the hyper-masculine nationalism that characterized much work of the period. Through their paintings, which feature no identifiable subject matter, Lazzell and Mason avoided potential gendered readings of their work and advanced the formal, technical, and conceptual evolution of abstract art in the United States. Both the abstract and figurative works in this section embrace simplified geometries and convey the revised sense of American self-identification established in the early- to mid-20th century.

“The work in Charles Butt’s collection demonstrates the complexity and breadth of American visual culture in the 20th century,” said Shirley Reece-Hughes, Curator of Paintings, Sculpture, and Works on Paper at the Carter, who is spearheading the exhibition. “The American modernist narrative is crucial to the Carter’s own collection, and this exhibition will both reveal new perspectives on some of America’s most well-known artists and introduce lesser-known artistic voices to our visitors, offering an expanded understanding of 20th-century American art.”

In line with Butt’s commitment to education, the exhibition features robust, bilingual interpretive and educational components, including a free takeaway brochure featuring an interview between Charles Butt and Andrew Walker. The Carter will also publish a fully illustrated catalogue to accompany the exhibition, including the interview as well as essays by Shirley Reece-Hughes and Erika Doss (University of Dallas).

American Modernism from the Charles Butt Collection is organized by the Amon Carter Museum of American Art. The exhibition will travel exclusively to four venues in Texas, reflecting Butt's civic dedication and passion for sharing American visual culture with communities in his home state. The exhibition will travel to the Blanton Museum of Art in spring 2026, the Museum of Fine Arts, Houston in fall 2026, and the McNay Art Museum in spring of 2027.

About Charles Butt

Charles Butt (b. 1938) is the Chairman of H-E-B and a prominent philanthropist deeply committed to education in Texas. He is the grandson of H-E-B’s founder Florence Butt, who started the first H-E-B in 1905 with just $60. Charles’s mother, Mary Elizabeth Holdsworth Butt, was a teacher and advocate for mental health and social justice and instilled in Charles the value of education and the importance of serving others. Charles became president of H-E-B in 1971, and later established the Charles Butt Foundation, which supports charitable organizations and nonprofit causes ranging from disaster relief to environmental efforts to hunger relief and education. Through his personal, professional, and philanthropic pursuits, he has continued to advance the lives of Texans by developing educational and community-centered partnerships focused on providing equitable and prosperous futures.

About the Amon Carter Museum of American Art

Located in the heart of Fort Worth’s Cultural District, the Amon Carter Museum of American Art (the Carter) is a dynamic cultural resource that provides unique access and insight into the history and future of American creativity through its expansive exhibitions and programming. The Carter’s preeminent collection includes masterworks by legendary American artists such as Ruth Asawa, Alexander Calder, Frederic Church, Stuart Davis, Robert Duncanson, Thomas Eakins, Georgia O’Keeffe, Jacob Lawrence, and John Singer Sargent, as well as one of the country’s foremost repositories of American photography. In addition to its innovative exhibition program and engagement with artists working today, the Museum’s premier primary research collection and leading conservation program make it a must-see destination for art lovers and scholars of all ages nationwide. Admission is always free. To learn more about the Carter, visit cartermuseum.org.

Images (left to right): Blanche Lazzell (1878–1956), Abstraction, ca. 1925, oil on board, Collection of Charles Butt, © Estate of Blanche Lazzell; Thomas Hart Benton (1889–1975), The Bicyclers, 1960, oil on board, Collection of Charles Butt, © T.H. and R.P. Benton Trusts / Licensed by Artists Rights Society (ARS), New York