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Texas Icon

New book by Jan Reid explores why Ann Richards continues to fascinate and endure

Tarra Gaines
Nov 17, 2012 | 12:18 pm
  • Ann Richards was a born entertainer, author Jan Reid says.
    Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
  • Let the People In: The Life and Times of Ann Richards, by Jan Reid.
    Courtesy photo
  • Author Jan Reid believes Richards lives on so vividly in our memories becauseshe was “such a refreshing difference from what we see now.”
    Courtesy photo
  • Photo of a young Ann Richards.
    Photos courtesy of the Dolph Briscoe Center for American History. From Let thePeople In: The Life and Times of Ann Richards by Jan Reid, © 2012, TheUniversity of Texas Press
  • Richards in her later years.

Though Texas remains very much a Republican state, one Texas Democrat still holds a high approval rating throughout the country. With a documentary making the film festival rounds, the play Ann headed for Broadway and now a biography on her life hitting the bookstores, Texas’ own white hot mama, Ann Richards, still blazes in our imagination six years after her death.

Why does her life, personality and politics still fascinate us? This is the question I posed to Jan Reid the author of Let the People In: The Life and Times of Ann Richards.

In this political world of scripted politicians and 30-second sound bites, Reid believes Richards lives on so vividly in our memories because she was “such a refreshing difference from what we see now.”

Reid says Ann Richards understood style and show business and used them to accomplish her goals in government.

Reid, a journalist and novelist, first met Richards in 1980 and would later serve as an advisor on environmental policy during her 1990 race for governor. During her governorship, he was sometimes a speech writer for her appointee John Hall, who served as chair of the Texas Natural Resource Commission. (Reid’s wife, Dorothy Brown, was a friend of Ann’s who served as a chief aide on her staff.)

In the prologue to the book, Reid is upfront about his connection with Richards.

“I knew people would know who I was and who my wife was, so if I wrote a puff piece about Ann Richards, I’d just get beat to hell. I was really taking pains to give the warts in addition to the smiles.

“I was really careful about that. But I also thought I had to be upfront about it,” he says. “I couldn’t pretend that I was never in the picture and that I didn’t have a personal relationship with her. [But] I didn’t want that to intrude.”

The real Ann Richards?
During the book’s recounting of her run for Texas governor, Reid references an October 1990 Texas Monthly profile of Richards where she says, “Everybody wanted to let Ann be Ann. And they all had different Anns.” I ask Reid if this was also a problem he had to confront when writing the book.

“Well, yeah, particularly the more I found about her other periods,” he says. “I had the picture of her when she was 47 years old, when her political career was just taking off. But I kept finding layers and layers of Ann both from what people told me and that wealth from the archive.”

Reid found an Ann who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was.”

Reid says that researching and speaking with her friends and family who knew her before she began running for political offices led him to understand that the woman we remember striding that motorcycle with white hair piled high as the Texas skies was one of many Anns.

“When she decided to become Ann the public person, she created the persona that worked pretty well for her. Not to say this was a dishonest strategy on her part. She was a born entertainer,” he explains, adding that she understood style and show business and used them to accomplish her goals in government.

Yet by delving into some of Richards' correspondences, especially those between Richards and Edwin “Bud” Shrake, who in the prologue of the book Reid describes as the “second great love of her life,” Reid found a Richards who “had a lot of fear. She was fragile in a lot of ways. That was the biggest surprise to find how human she was. It was good to discover that.”

Though deeply focused on mapping the “amazing narrative arc” of her life, Reid pauses throughout the book to provide historical and cultural context for the reader. All this background information helps us understand how Texas created Richards and how Richards changed Texas.

The many photographs of Richards with political and media celebrities included in the book also help give the impression that Richards knew everybody and was always in the center of the action. When I make this observation, Reid agrees.

“Oh she did,” he says. “Her family was way too close for comfort near the Kennedy assassination. She had these very unpleasant face-to-face encounters with LBJ and Carter. She was in New York during 9/11. There was big earthquake in San Francisco in the '80s and she happened to be in San Francisco. It seemed like she was just everywhere all the time.”

“You hear a lot about the cracks in the glass ceiling,” Reid says. “Well, Ann Richards put some of them up there.”

Ann Richards’ legacy
Though Texas might remember Richards with great fondness, I wondered if Reid still saw her presence in the current political landscape. Reid says he continues to see Richards’ influence, even in Gov. Rick Perry’s administration, when it comes to diversity in political appointments. Thanks to Richards, we can never go back “to the old, white boys club.”

“She was also the first ardent feminist elected to a major office in the United States,” he says. “You hear a lot about the cracks in the glass ceiling. Well, she put some of them up there. Hillary Clinton considered Ann her mentor when she was first lady and then Senator of New York.”

As we finish our conversation, I have to ask Reid if he felt a sense of deja vu when watching Richards’ daughter, Cecile Richards, the current president of Planned Parenthood, speak at the Democratic Convention.

“Of course. Cecile is a star — just in a different way — just like her mother was. She’s just blossomed, as all her children have,” he says.

“But Cecile’s a politician. She can’t come back to Texas and run for office, it doesn’t seem, but she’s probably accomplishing more now than she would if she had an office. The last many weeks of the presidential campaign she was on the road with Obama. He was seeking her council all the time.”

And how would Richards feel about that campaign and its outcome? Reid believes, “To have been able to see that in her lifetime would have just been amazing to her.”

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Arts in Fort Worth

DFW museum debuts landmark exhibition about Statue of Liberty

Alex Bentley
Jul 30, 2026 | 9:15 am
Amon Carter Museum of American Art presents "The Statue of Liberty from Bartholdi to Warhol"
Frédéric-Auguste Bartholdi (1834–1904), Early View of the Statue of Liberty, n.d.,, watercolor, Musée Bartholdi, Colmar, 2005.0.16.3, © Musée Bartholdi, Colmar, Photo Chr. Kempf
"The Statue of Liberty from Bartholdi to Warhol" opens at the Amon Carter Museum of American Art on August 15.

The Amon Carter Museum of American Art will celebrate the United States' 250th anniversary with a major exhibition examining one of the country's most recognizable symbols: "The Statue of Liberty from Bartholdi to Warhol" will open Saturday, August 15 for a nearly five-month run.

The exhibition, co-organized by the Denver Art Museum, is 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.

According to a release, it will bring together nearly 100 artworks and objects from more than 70 artists, exploring the statue’s varied manifestations - from artistic marvel and pop culture icon to symbol of immigration, patriotism, and resistance.

Successive generations of artists who have represented the statue's iconic form over the past 150 years will be included in the exhibition, including Pacita Abad, Benny Andrews, Edward Moran, Norman Rockwell, Nari Ward, and Andy Warhol.

The exhibition is anchored by a rare cast of French sculptor Frédéric Auguste Bartholdi’s bronze sculpture Liberty Enlightening the World (Statue of Liberty) (1894-1901), one of only five domestic-scale bronze reductions made during the artist’s lifetime.

The exhibition will be broken up into four distinct sections:

  • Creating a Monument, which focuses on the statue’s origins and initial public reception in the tumultuous decades between the American Civil War and World War I.
  • A National Monument, which showcases the way society and visual culture were inundated with Statue of Liberty imagery between World War I and the 1950s. The installation of newspapers, advertisements, lithographs, images, films, and paintings demonstrate the turning point in the statue’s transformation into a dominant American icon.
  • Reimagining an Icon, which explores pop art and reproductions of the statue’s imagery, demonstrating its increasing detachment from its original image and malleability as an American symbol.
  • The Statue of Liberty Today, which closes the exhibition with a selection of works by living artists who have continued to investigate the Statue of Liberty’s meaning in the 21st century.

“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, in a statement. “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.”

"The Statue of Liberty from Bartholdi to Warhol" will remain on display through January 3, 2027.

It will then travel to Denver for a presentation from March 14-July 4, 2027. The exhibition will also travel to the Munson Museum of Art in Utica, New York, from August 5-December 5, 2027.

The Amon Carter Museum will celebrate the opening with a special event called "Liberty Talks" on August 15 from 11 am-3 pm, featuring gallery talks, live music, poetry, treats, and more. A second event, "Second Thursdays: Monuments & Martinis," will take place September 10 and include Statue of Liberty-inspired flash tattoos by Fort Worth artist Joseph Ayala of Panther City Tattoo.

Admission to the Carter is free.

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