Search Results for 'maxwell anderson'

Untitled – Creating Art Ball 2013

Held every spring, the DMA Art Ball is one of the Museum’s largest fundraising events, and this year it exceeded all expectations! The reviews are raves for the entertainment, live and silent auctions, seated dinner in an expansive tent on the Museum’s Ross Avenue Plaza, and high-energy After Party in another tent at the Flora Street Entrance. Under the leadership of co-chairs Jennifer Karol and Catherine Rose, Untitled: Art Ball 2013 raised an impressive $2,250,000 to help the Museum in many areas, including conservation, technology, and the recent return to free general admission for all. How did we transform Ross Avenue Plaza into an elaborate venue? Watch the video below to see how the massive tent was constructed:

A highlight of the evening was the video Downtown Artsy, created as a thank you to the evening’s very generous sponsors. It featured DMA Director Maxwell Anderson as “Lord Grantham” and Mayor Rawlings as his valet, along with other local celebrities.

Debbie Stack is Director of Special Events and Volunteer Relations at the DMA.

The Quality Instinct

Join us Wednesday, May 2 at 7:30pm for an Arts & Letters Live Special Event, Seeing Art Through a Museum Director’s Eye: Dr. Maxwell Anderson in Conversation with Krys Boyd.

The Quality Instinct: Seeing Art Through a Museum Director's Eye by Maxwell L. Anderson

The Quality Instinct: Seeing Art Through a Museum Director’s Eye was published less than a month after Maxwell L. Anderson began as The Eugene McDermott Director of the Dallas Museum of Art.  In an interview, he said “The book is really an introduction to a ground floor of understanding about artistic intention and artistic result, and I hope people will take something away from it in feeling more comfortable with objects that, even today, great professors of artistic and art historical theory may be a little out of touch with.”

Maxwell describes his family’s travels when he was a child as “great exposure to new ways of seeing the world”.  These experiences clearly made an indelible impression on him, as he states “I used, in the course of a career as an art historian, and a museum curator and director, to go back and refresh my eye about what I learned as a child and how it would influence the way I see today as an adult.”

Rather than our standard interview format, I decided instead to ask our new Director five quick questions:

  • Are there any books you’ve read multiple times?  Catcher in the Rye, by J.D. Salinger.  The Way We Live Now, by Anthony Trollope.
  • Do you have a “can’t miss” TV show?  The Big C is one Jacqueline and I don’t miss.  That, and Shark Tank.
  • What is your favorite quote? “I’d rather be an optimist and a fool than a pessimist and right.” – Albert Einstein
  • If you could have dinner with any historical figure, who would it be? Montesquieu – he was so funny and casual and arch.
  • Coming from Indianapolis, how are you preparing for the Dallas summer?  I’m looking forward to it.  It will be cooler than growing up in New York in the summer; there, I would walk out on the hot street, get in a cab and stick to the vinyl seat, and go to a walk-up apartment without air conditioning.

Don’t miss what will surely be an interesting conversation between Maxwell Anderson and Krys Boyd.

Melissa Nelson
Manager of Teaching in the Community

Live from the Director’s Office

Maxwell L. Anderson, The Eugene McDermott Director, Dallas Museum of Art

I’m on Day Three at the DMA and feeling very much at home. Directors are always at home, because the job follows us there. In the case of the Dallas Museum of Art, it’s great fun to get to know so many new people in such a short time, and to absorb the rhythms of a venerable institution that is forever in the moment.

Unpacking a few hundred books and displaying a few souvenirs and personal photographs has already made my new office feel familiar—as does knowing that dear friends have worked in this office for many years before I showed up. The choices of how time is spent in the first few weeks are clear up to a point—lots of events and opportunities to connect with everyone from staff to visitors to donors and trustees to others throughout the Metroplex. The script not written is how to blend my experiences with the needs of the DMA, which will be a fresh and exciting challenge. My inner circle of staff is already learning about my foibles and tone, which I try to keep informal, fast-paced, laced with humor, and open to experiments that fail.

While I will return to this space from time to time, it’s probably easier to find me on Twitter (@MaxAndersonUSA), which demands haiku-like precision but slightly less time. Excited to see what happens on Day Four!

Maxwell Anderson is The Eugene McDermott Director at the Dallas Museum of Art.

Forward Facing

With the onset of a new year, it’s useful to take stock of what is up next at the Museum. At the end of January, we will mark the second anniversary of DMA Friends, our much-heralded free membership program. With more information gleaned from our visitors than ever before, we are excited to share insights among four major art museums exploring the opportunities presented by this program, thanks to a six-figure grant from the Institute of Museum and Library Services. The Los Angeles County Museum of Art, Denver Art Museum, Minneapolis Institute of Arts, and DMA are partnering in a roll-out of the museum Friends program, and will have much to learn in the months ahead.

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Maxwell L. Anderson discussing the Wittgenstein Vitrine with AT&T Performing Arts Center’s Chris Heinbaugh

 

Following the evocative exhibition of 19th-century oils titled Bouquets: French Still-Life Painting from Chardin to Matisse, which local critics hailed as one of the best  exhibitions of 2014, we look forward to presenting three remarkable exhibitions of art of the last half-century. Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga opens on February 8 in the Hoffman Galleries, for the first time revealing some of the breadth of the Museum’s newly formed collection of postwar Japanese painting and sculpture, which augments an already major collection of European and American art of the 20th and 21st centuries.

The newly acquired Marcia H Travels (1970), the first work in the DMA’s collection by the Guyanese-born British painter Frank Bowling, will be displayed along with four other paintings by Bowling from private collections. Frank Bowling: Map Paintings, opening February 20, will mark the first time in nearly forty-five years that these “Map Paintings” will be brought together since their debut at the Whitney Museum of American Art in 1971.

Rounding out the spring, the US premiere of the internationally traveling exhibition, Michaël Borremans: As sweet as it gets, on the work of contemporary Belgian artist Michaël Borremans opens at the DMA in March 2015. Co-organized by the DMA and Center for Fine Arts, Brussels (BOZAR), this retrospective will draw our visitors into the fascinating realism of one of today’s most heralded painters.

A feast for the eye, all are made possible by the generous supporters of the DMA, to whom the Board and staff extend our sincere appreciation. I look forward to welcoming you to the Museum this winter and spring, and hope you will encourage others to join as DMA Partners to undergird free general admission—a year-round gift to our community.

Maxwell L. Anderson is The Eugene McDermott Director at the DMA

Art Everywhere US: A Very, Very Big Art Show

Be a guest curator for the largest art exhibition in America! Beginning today, you can vote for your favorite American artworks from art museums across the country, including the DMA. Art Everywhere US is a public celebration of great American art.

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The process to create this celebration began this past New Year’s Eve, when I e-mailed the directors of four leading U.S. museums—the Art Institute of Chicago, the Los Angeles County Museum of Art, the National Gallery of Art, and the Whitney Museum of American Art—asking if they would jump in feet first with the DMA and the Outdoor Advertising Association of America to create a 100-work synopsis of American art history. I was thrilled when everyone agreed right away, and by January 2014 we were off to the races.

I asked each museum to submit 30 works, yielding 150, and I had the unenviable task of winnowing the list down to 20 each to reach 100. We were seeking a balanced result, representing every period of American art from across the nation, with attention to ethnic and gender diversity, and the inclusion of iconic works alongside whimsical ones. We stuck to two-dimensional works given their planned reproduction on out-of-home media.

It is now up to you to help decide which of these 100 works will be part of the first Art Everywhere US project.

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From now through May 7, you can vote for your favorite 10 works daily to help inform the final 50 works. The final works will be reproduced this August on as many as 50,000 outdoor displays from coast to coast. Make sure you get to see your favorite work of art on a billboard during your commute this summer, whether it’s the DMA’s The Icebergs, the Art Institute of Chicago’s American Gothic, the Los Angeles County Museum of Art’s Campbell’s Soup Can, the Whitney’s Little Big Painting, or the National Gallery’s George Washington. We aren’t trying to stack the deck in the DMA’s favor, but instead are enjoying the playful spirit of this massive endeavor. Vote early and vote often! And please share your votes with #ArtEverywhereUS and connect online.

(Images in slide show: Jasper Johns, Three Flags, 1958. Encaustic on canvas. 30 5/8 x 45 1/2 x 4 5/8 in. Whitney Museum of American Art, New York, Art © Jasper Johns, Licensed by VAGA, New York, N.Y.; Gilbert Stuart, George Washington, c. 1821. Oil on wood. 26 3/8 x 21 5/8 in. National Gallery of Art, Washington, Gift of ThomasJefferson Coolidge IV in memory of his great-grandfather, Thomas Jefferson Coolidge, his grandfather, Thomas Jefferson Coolidge II,and his father, Thomas Jefferson Coolidge III.; Frederic Edwin Church, The Icebergs, 1861. Oil on canvas. 64 1/2 x 112 1/2 in. (1 m 63.83 cm x 2 m 85.751 cm). Dallas Museum ofArt, gift of Norma and Lamar Hunt.; Roy Lichtenstein, Cold Shoulder, 1963. Oil and magna on canvas. 68 1/2 x 48 in. Los Angeles County Museum of Art, Gift of RobertH. Halff through the Modern and Contemporary Art Council (M.2005.38.5). Photo courtesy of the Roy Lichtenstein Foundation, by Kevin Ryan.; Grant Wood, American Gothic, 1930. Oil on Beaver Board. 30 3/4 x 25 3/4 in. (78 x 65.3 cm). The Art Institute of Chicago, Friends of American Art Collection.)

Maxwell L. Anderson is the Eugene McDermott Director of the DMA.

Culinary Canvas: Ancient Cakes (Pemma)

In honor of our current exhibition The Body Beautiful in Ancient Greece, I thought it would be fun to explore ancient baking this month. The general word for cake is pemma in Ancient Greek or libum in Latin. Several texts survive which mention different types of ancient cakes, but the actual recipes themselves are much more elusive. Roman writer and statesman M. Porcius Cato recorded one such recipe for libum in his De Agri Cultura, a sort of practical manual for farmers. Using Cato as a starting point, I created this simple recipe with ingredients and materials available in the ancient world. Similar honey-cheesecakes would have been given as offerings to the gods or perhaps enjoyed during a wedding feast. Hera, the Greek goddess of women and marriage, may have even enjoyed one herself.

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Head of marble figure of Hera
Roman period, AD 30–180, from Agrigento, Sicily
GR 1873,0820.740 (Sculpture 504)
© The Trustees of the British Museum (2013). All rights reserved.

Pemma

Yields 10 small cakes
Level: Easy

8 ounces goat cheese
¼ cup honey, plus more for drizzling
1 egg
¾ cup spelt flour or all-purpose flour
½ cup sliced almonds, toasted

Preheat oven to 400° F.

Allow goat cheese to soften slightly on counter. Crush toasted almonds with mortar and pestle.

In medium bowl, beat together goat cheese and honey with a whisk or wooden spoon. Add egg and continue beating until smooth. Sprinkle in flour and mix until just incorporated. Mix in crushed almonds.

Drop batter by large spoonfuls onto baking stone. Cover stone with aluminum foil and bake 26-30 minutes, until cakes begin to turn light brown. Allow to cool just slightly on stone, then transfer cakes to separate dish. Drizzle warm cakes with additional honey until each is saturated.

 

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Batter on baking stone

OLYMPUS DIGITAL CAMERA

Cakes drizzled with honey

Recipe inspired by Cato’s ancient recipe for libum.

P.S. – If you love the ancient world as much as I do, you won’t want to miss An Illustrated Course: The Body Beautiful in Ancient Greece, a two-night course taught by our own Director Maxwell L. Anderson. DMA Friends can redeem a reward to attend the course for free, and then earn even more points for attending. I’ll see you there!

Sarah Coffey
Assistant to the Chair of Learning Initiatives

DMA’s Cinderella Inspires New Show

In honor of Thomas Sully’s birthday on June 19, we sat down with William Keyse Rudolph, the DMA’s former Associate Curator of American Art. Now the Milwaukee Art Museum’s Dudley J. Godfrey, Jr. Curator of American Art and Decorative Arts, William is currently organizing a retrospective exhibition of the artist. Sully (1783–1872) was born into a theatrical family in England but made a career in America, capturing in paint many of the leading actors and actresses of the time. The exhibition will feature many of these portraits as well as his “fancy pictures”–paintings made for mass appeal, with literary, artistic, and/or imaginary subjects. While at the DMA, William acquired Cinderella at the Kitchen Fire for the collection; the painting will be featured in the traveling exhibition and accompanying catalogue.

Thomas Sully, Cinderella at the Kitchen Fire, 1843, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation

Thomas Sully, Cinderella at the Kitchen Fire, 1843, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation

1. You were quoted in Art and Antiques magazine as saying that the DMA’s Cinderella at the Kitchen Fire took your breath away the first time you saw it. Why is this? Why do you consider this work Sully’s “finest fancy picture”?

For one thing, the picture is bigger than you expect. It’s nearly four feet by five feet. It was hanging on the wall of an art dealer’s office, surrounded by books, clutter, papers–and it just jumped out at me, even with all that distraction. It’s a beautifully painted, delicate picture, full of all sorts of grays and pinks that never reproduce well, but that are knock-out in person. And to be honest, it has this great big wonderful orange and white cat frolicking with Cinderella almost right at front and center. At that time, I had an orange and white cat, so the die was cast. I had to love it! And to be fair, former DMA director Jack Lane’s first words upon seeing an image of the painting were “Look at that cat!” He’s a cat person, too. We were also very fortunate that Mrs. Pauline Gill Sullivan, who had been a great benefactor of the DMA, saw the painting when we brought it to the Museum on approval and very graciously agreed to fund its acquisition. Besides having her own fine collection of European and American art, Mrs. Sullivan had a wonderful track record of making acquisitions available to the Museum, such as the commanding 18th-century portrait by Ralph Earl and a really dreamy late 19th-century Frank Duveneck painting of a woman in a red hat, so I was grateful that she responded so well to a big fairytale scene, which was out of her comfort zone in terms of the artist, size, and subject matter.

2. Did you have an interest in Sully and his paintings prior to this acquisition?

Yes. I had lived, worked, and gone to graduate school in Philadelphia for ten years before coming to the DMA, so I was well aware of Sully. He is so closely linked with the city of Philadelphia, where he worked for about sixty years, that it is almost impossible to spend time in Philly and not run into his work in virtually every cultural institution, from museums to libraries and hospitals.

3. How does it make you feel knowing that a key acquisition you made while working at the DMA will now be featured in Milwaukee’s exhibition and catalogue? Was it difficult to leave Cinderella behind?

I am, of course, thrilled! Cinderella at the Kitchen Fire actually gave birth to the show. After I acquired the work, my colleague Carol Eaton Soltis (a curator at the Philadelphia Museum of Art) and I began to talk about why this work was so interesting, which led to us proposing a show at the DMA that examined Sully’s total career: portraits as well as fancy pictures like this one. That show, which we began working on in 2005, was originally scheduled for 2009-2010 but ultimately didn’t happen due to timing and other issues. So we are really happy that years later the idea for the show was able to travel with me to Milwaukee and can now finally be seen here and then at the San Antonio Museum of Art. And yes, it was very difficult to leave Cinderella behind. You never, ever forget your first acquisition, and she was mine. I have missed her every day since I left the DMA, and I’m ridiculously excited to have her back with me for a brief time. If you ask gallery attendants at the DMA who remember me, they will tell you I used to go talk to her in the galleries. So my team here has been warned about that! I will probably burst into tears when she comes out of her crate and I see her again.

4. Since Sully also specialized in portraiture, is there any evidence that the figure of Cinderella was based on a real person?

Carol Soltis and I are convinced that the model for Sully was his daughter Rosalie, who posed for many of his works, several of which will also be in the show. She was a very talented painter herself, who died young.

5. Cinderella was painted when Sully was 60 years old. In your opinion, did it bring him the success and attention he hoped for in his later years? Did it help him attract new clients?

Yes and no. Sully hoped to sell the painting much faster than he did. He exhibited it several times in the Northeast and it was made into an engraving, but it took a few years to actually sell to a collector. One of the fascinating stories of this exhibition is how the fancy pictures like Cinderella functioned for Sully as a way to try to counteract the effects of economic crises on the portraiture market. Works like Cinderella were attempts to keep himself in front of the public, which he hoped would both result in sales of the subject pictures and remind clients that he could still turn it on when he wanted to.

6. A later version of Cinderella was (at least at one time) in the collection of Thomas Sully, Jr., of Naples, Florida. Is he a descendant of the painter? Did you ever track down this painting and will it be part of the exhibition and/or catalogue?

He is a descendant. I’ve seen an old reproduction of this picture, and I actually suspect it was the work of one of Sully’s grown children, whom he trained as artists. For that reason, I’ve never really worried about tracing it, as the DMA has the best one. What I’d be curious to see someday is another version of Cinderella done later that apparently shows her with the fairy godmother, but that one is completely obscure and only listed in Sully’s register. If anyone knows where it is, I would love to see it!

7. Do you know yet which works in the exhibition will be installed near the DMA’s Cinderella?

I don’t know exactly where the painting will go in the gallery, but it will be part of a section devoted to Sully’s fancy pictures. So she will live near an amazing picture of Little Nell Asleep in the Curiosity Shop from the Free Library of Philadelphia, which is based on Charles Dickens; and a gigantic, dramatic painting based on a scene from the early American novel The Pilot by James Fenimore Cooper that we’re borrowing from the Birmingham Museum of Art in Alabama. All three of them will be stunning together, and all were painted around the same time.

Thomas Sully: Painted Performance will be on view at the Milwaukee Art Museum October 11, 2013-January 5, 2014, and then at the San Antonio Museum of Art February 7-May 11, 2014. I hope some of the DMA’s visitors who love this painting will come see the show in one of these places to help celebrate this important painter and this really beautiful picture that the DMA family has been so quick to adopt as a favorite. And thank you to Sue Canterbury, Maxwell L.  Anderson, and all the DMA family for making her available for loan.

Reagan Duplisea is the Associate Registrar, Exhibitions at the DMA.

Two Nights in Greece

On June 26 and 27, I will offer a two-session course on the themes raised by our current exhibition The Body Beautiful in Ancient Greece: Masterworks from the British Museum.

Bronze statuette of Zeus Roman period, first–second century AD, said to be from Hungary  9 5/16 x 4 5/16 x 4 3/4 in.  GR 1865,0103.36 (Bronze 909) © The Trustees of the British Museum (2013). All rights reserved.

Bronze statuette of Zeus
Roman period, first–second century AD, said to be from Hungary,
© The Trustees of the British Museum (2013). All rights reserved.

Objects from Greek and Roman antiquity can be challenging to decipher. What the classical world took for granted is no longer part of our language, either spoken or visual. The polytheistic religious framework that defined daily existence seems alien to a modern Western observer, for whom the myths of ancient Greece are complex, overlapping, and in many cases hard to understand.

Over the course of two evenings, I hope to make these artworks of some two millennia ago feel as accessible as possible to a modern viewer, and to share observations from a lifetime of handling and studying classical antiquities.

Black-figure neck amphora, Greek, 520–510 BC, from Vulci, Italy, GR 1836,0224.106 (Vase B224), © The Trustees of the British Museum (2013). All rights reserved.

Black-figure neck amphora, Greek, 520–510 BC, from Vulci, Italy, © The Trustees of the British Museum (2013). All rights reserved.

We’ll tackle the objects in the exhibition by medium, to give insight into the creative choices made by artisans working in gold, silver, bronze, marble, and terracotta, and make our way through the stylistic transitions of the Geometric through the Hellenistic periods.

By the end of these two nights, I hope to have given you what you need to take in not only the antiquities in the DMA’s galleries but also any others you may encounter in the future.

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Visit the DMA’s website for additional information on An Illustrated Course: The Body Beautiful in Ancient Greece and to register for the two-night event. DMA Friends have the opportunity to attend the course for free; earn 6,500 points and redeem that credit for the Illustrated Course reward.

Maxwell L. Anderson is The Eugene McDermott Director at the DMA.

Exciting Things in Store for 2013!

2013 is only two weeks old, but it is already looking to be a fantastic year!  This is a groundbreaking year for the Museum, and as always our goal is to invite everyone to have an unforgettable experience with the DMA.  This is just a sneak peak into the many exciting activities and engaging programs that will take place at the DMA this coming year.

dma_friends_partners[1]Free General Admission!! Perhaps the most exciting news of the year: the DMA will offer free general admission to everyone beginning January 21st.  We are in the midst of planning some fun opening-day activities, including tours of the collection, performances in the galleries, art-making activities and much more!  In addition to free general admission the Museum is also offering free membership which we are calling DMA Friends.  Everyone who comes to the Museum can join the DMA Friends program free of charge.  This unique approach to membership values participation and engagement, and DMA Friends will gain expanded access to Museum programming and will be rewarded for their activity within the Museum and in the local cultural community.  Stay tuned for more information about this exciting program or learn more from our Director, Maxwell L. Anderson.

Events and Programs

  • Late Nights at the DMA Every third Friday of the month the Museum stays open until midnight and offers a multitude of experiences for visitors of all ages. Join us Friday, January 18th as we celebrate the DMA’s 110th birthday! Dance the night away to the music of Brave Combo, join in on a special workshop with guest artist John Hernandez, whose work Hi-C Avenger is currently on view in the Center for Creative Connections (C3), explore our special exhibitions, compete against other teams in a Creativity Challenge, go on personal tours, and more! Check our Late Night page for a complete schedule of upcoming events.
  • Autism Awareness Family Celebration February 2nd The DMA is a leader in providing inclusive experiences for a diverse set of audiences. The Autism Awareness Family Celebration provides a safe, comfortable way to introduce the Museum to families of children with autism and show them how they can have a successful visit to the DMA with their child on the Autism Spectrum.  The Center for Creative Connections will be open and available before the Museum opens, from 9am – 11am, for parents and children to play and enjoy art together in a fun environment. Participate in staff-led gallery experiences, enjoy an interactive musical performance, and create a work of art in the studio. Pre-registration is required as space is limited.
  • First Tuesdays at the DMA The Museum arranges special, thematic programming on the first Tuesday of every month that is specifically designed for children ages five and under, but of course all ages are welcome! We invite families to enjoy thematic art-making activities, story times, performances, and gallery activities. Activities are focused on a different theme each month. February 5th: Materials Mania; March 5th: Over the Rainbow. Check our family page regularly for event updates and a complete list of activities.

Upcoming Exhibitions

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Marc Chagall, Entre Chien et Loup (Between Darkness and Night), 1943, oil on canvas, private collection

Chagall: Beyond Color February 17 – May 26, 2013 This beautiful exhibition places the prolific artist’s beloved paintings alongside his works in sculpture, ceramics, and collage to explore his relationship with space and volume. The centerpiece of the exhibition will be a display of costumes made by Marc Chagall in 1942 for the production of the ballet Aleko, choreographed by Léonide Massine with music by Pyotr Ilyich Tchaikovsky. The ballet’s première took place in September 1942 in Mexico City, followed by the Ballet Theatre of New York production, and the costumes have not been seen in the U.S. since. Dallas is the only US city to secure access to this exhibition, what a treat!

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Loren Mozley, Winter Fields, 1948, oil on canvas, collection of Susan and Claude Albritton III

Loren Mozley: Structural Integrity February 17 – June 30, 2013 Within the realm of Texas art, Mozley played a key role in shaping generations of young artists who received instruction from him during his tenure of thirty-seven years (1938-1975) in the art department at the University of Texas, Austin. The exhibition is the first retrospective of the artist’s work since 1978 and will bring together choice works by Mozley (1905-1989) dating from the late 1930s through the 1970s with the aim of re-visiting Loren Mozley’s bodu of work and revealing his debt to forerunners such as Cézanne, and his responses to modernist trends.

Cindy Sherman, Untitled, 1981, Type C print, Dallas Museum of Art

Cindy Sherman, Untitled, 1981, Type C print, Dallas Museum of Art

Cindy Sherman March 17 – June 9, 2013 Cindy Sherman is widely recognized as one of the most important contemporary artists of the last forty years, and is arguably the most influential artist working exclusively with photography. This traveling retrospective exhibition traces the groundbreaking artist’s career from the mid-1970s to the present and brings together more than 170 key photographs from a variety of the artist’s acclaimed bodies of work, for which she created numerous constructed characters and tableaus. This is the first comprehensive museum survey of Sherman’s career in the United States since 1997, the exhibition draws widely from public and private collections, including the DMA.

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Marble statue of a discus thrower (diskobolos), Roman period, second century A.D., © The Trustees of the British Museum (2012).

The Body Beautiful in Ancient Greece May 5 – October 6, 2013 This internationally touring exhibition of more than 120 objects explores the human form through exquisite artworks exclusively from the British Museum’s famed collection of Greek and Roman sculpture. Iconic marble and bronze sculptures, vessels, funerary objects, and jewelry are among the treasures that explore the human form, some dating back to the second millennium B.C.

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Gene Gordon , John F. Kennedy reaching out to crowd in Fort Worth, November 22, 1963, 1963, gelatin silver print, Amon Carter Museum of American Art

Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy May 26 – September 15, 2013 In commemoration of the 50th anniversary of the assassination of President John F. Kennedy, the DMA will bring together the works of art installed in the president’s suite at the Hotel Texas during his fateful trip in 1963. The original installation, orchestrated by a small group of Fort Worth art collectors, was created especially for the president and first lady in celebration of their overnight visit to the city and included paintings by Vincent van Gogh, Thomas Eakins, Lyonel Feininger, Franz Kline, and Marsden Hartley, and sculptures by Pablo Picasso and Henry Moore, among others.

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Jim Hodges, With the Wind, 1997, Scarves and thread, Fuhrman, Amanda and Glenn, photo by Alan Zindman

Jim Hodges: sometimes beauty October 6, 2013 – January 12, 2014 This October, Dallas will premiere a major traveling exhibition and the first comprehensive survey to be organized in the United States on the work of contemporary American artist Jim Hodges. Co-organized by the Dallas Museum of Art and the Walker Art Center, this exhibition explores the trajectory of the artist’s twenty-five-year career, highlighting the major themes that unify his multilayered and varied practice. Comprising approximately seventy-five works produced from 1987 through the present, this exhibition examines how Hodges transforms both everyday and precious materials into poignant meditations on themes including time, loss, identity, and love.

We hope to see you soon!

Danielle Schulz
McDermott Intern for Family Experiences

Welcome to the Neighborhood

This week our city’s newest amenity comes online: Klyde Warren Park. Now that we have glorious palaces for high culture, bridges into developing communities, and burgeoning opportunities to live downtown, the next accomplishment to celebrate is a green attraction with an identity open for interpretation by every visitor.

The DMA staff looks forward to the impact of a pedestrian-friendly destination just steps from our front door. The car culture of Dallas is not unique, but whatever we can all do to encourage residents and visitors to stretch their legs and open their eyes can only improve the quality of life for all in our city.

Parks and museums share a great deal—we welcome people of all backgrounds, regardless of particular interests, we offer an informal setting for conversation and relaxation, and we don’t prescribe a route, a timetable, or an outcome for your visit. We both try to offer a respite from the commercial din of contemporary life, some perspective on daily life, and enjoyment that comes from a freedom to wander and explore without confinement.

We look forward to collaborating with the Park as it gets underway with programming, and to accelerating the pedestrian-friendly potential of the Dallas Arts District in a variety of ways. Welcome to the neighborhood, Klyde Warren Park!

Celebrate the grand opening of Klyde Warren Park this weekend. The DMA will move the Studio Creations program outside on Saturday and Sunday from 1:00 to 3:00 p.m., and on Sunday our Maya ballgame demonstration with Grupo Pakal will be held at the Park at 1:45 p.m. Visit the Park’s website for a complete list of events.

Maxwell L. Anderson is The Eugene McDermott Director at the Dallas Museum of Art.

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