February | 2013 | Dallas Museum of Art Uncrated

Archive for February, 2013

Seeing Red

Published February 28, 2013 Art & Teaching Closed
Tags: Dallas Theater Center, Mark Rothko, Red

This month we have thoroughly enjoyed collaborating with our neighbors at the Dallas Theater Center on their play Red, showing until March 24. Red, a two-actor play about the painter Mark Rothko, focuses on an enormous commission Rothko received from the Four Seasons Restaurant in the Seagram Building in New York. During the play, Rothko’s fictional assistant Ken increasingly probes and questions Rothko about his intentions for his Seagram paintings as well as his theories on art.

To experience the play, audience members must walk directly into a re-creation of Rothko’s studio—the play’s set—and sit around its perimeter. Rothko intended viewers of his work to be completely immersed in his paintings. Reflecting that intention, viewers of Red must be completely immersed in the play, literally sitting in the set among the actors.

Our collaboration with DTC began with a DMA-hosted workshop for staff from both organizations. (Read about the impetus for the collaboration and the staff workshop on our blog Uncrated.) As part of the collaboration, we invited area high-school students to a matinee of Red followed by an in-depth and interactive conversation about Mark Rothko and related artists in the DMA galleries.

Of course we spent time visually exploring Rothko’s Orange, Red and Red. We encouraged the students to immerse themselves in the painting. We reminded them of Rothko’s line from the play:

“You’ve got to get close. Let it pulsate […] Let it wrap its arms around you; let it embrace you, filling even your peripheral vision so nothing else exists or has ever existed or will ever exist. Let the picture do its work—But work with it. Meet it halfway…Engage with it!”

We asked students to describe the experience of entering into the painting as if it were a place. What do you see? What does it smell like? How is the weather? How would you describe this place to someone who has never been there?

We also explored the work of artists that Rothko discusses in the play, such as Pablo Picasso and Robert Rauschenberg. Rothko’s character says “We destroyed Cubism… We stomped it to death. Nobody can paint a Cubist picture today.” Students investigated Picasso’s Bottle of Port and Glass and discussed the ideas behind Cubism in comparison to Rothko’s process and ideas about art. Similar discussions were facilitated around Rauschenberg’s Skyway, and we talked about the cycle of artists creating art in response or in opposition to artists that came before them. In Red, Rothko worries that the “young artists” like Andy Warhol and Robert Rauschenberg are out to kill him, much in the same way he claims to have destroyed the Cubists.

Lastly, we looked at Karla Black’s installation Exactly That in comparison to Orange, Red and Red. The students responded in a number of ways: Both incorporate large rectangular forms; The process to create both was precise and thought out. One student noticed that both included a perimeter of some sort. However, he thought that Rothko’s soft brown outlines drew viewers into the painting, while Black’s hanging strips of tape functioned like a barrier.

What kinds of comparisons can you make with these works?

Jackson Pollock, Portrait and a Dream, 1953

An Alamo Soldier

Be sure to check out new online teaching materials about Rothko on CONNECT! And thanks to our colleagues at DTC for this great collaboration!

Artworks shown:

Mark Rothko, Orange, Red and Red, 1962, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated
Pablo Picasso, Bottle of Port and Glass, 1919, Dallas Museum of Art, Museum League Purchase Fund, The Cecil and Ida Green Foundation, Deedie and Rusty Rose, The Pollock Foundation, Mary Noel Lamont and Bill Lamont, Mr. and Mrs. Thomas O. Hicks, Howard E. Rachofsky, an anonymous donor, Mrs. Charlene Marsh in honor of Tom F. Marsh, Gayle and Paul Stoffel, Mr. and Mrs. George A. Shutt, Dr. Joanne Stroud Bilby, Mr. and Mrs. Barron U. Kidd, Natalie (Schatzie) and George T. Lee, Jr., Mr. and Mrs. Jeremy L. Halbreich, Dr. and Mrs. Bryan Williams, and Mr. and Mrs. William E. Rose
Robert Rauschenberg, Skyway, 1964Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund
Karla Black, Exactly That, 2012, Courtesy Stuart Shave/Modern Art, London and Galerie Gisele Captain, Cologne

Andrea V. Severin
Interpretation Specialist

Soup’s On

Published February 27, 2013 Collections , Curatorial , Decorative Art and Design Closed
Tags: Cindy Sherman, Dallas Museum of Art, Decorative Arts, DMA, Louis Comfort Tiffany

In a museum the size of the DMA, it’s hard to keep track of isolated changes over 370,000 square feet. So we are letting you know about three recent additions to the permanent collection that are now on view. I encourage you to visit the Museum and go on a “scavenger hunt” to see how these works add an extra spark to the galleries—remember, general admission is free!

All three of the works fall within the purview of decorative arts and were originally marketed to elite consumers. One is by a well-known figure—the 19th-century design magnate Louis Comfort Tiffany (American, 1848-1933). Fans of contemporary art or those familiar with the DMA’s upcoming exhibitions will recognize the name of photographer Cindy Sherman (American, born 1954). The third designer may be unknown outside of specialist circles, but during his lifetime Archibald Knox (British, 1864-1933) was credited with developing a uniquely British approach to the Art Nouveau movement.

Cindy Sherman, “Madame de Pompadour (née Poisson)” soup tureen with platter, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

From March 17 to June 9, the Cindy Sherman exhibition will adorn the walls of the Barrel Vault and Quadrant Galleries, but visitors to the European Galleries can also encounter the contemporary American’s work. Her Madame de Pompadour (née Poisson) soup tureen with platter sits camouflaged with rococo curves and floral embellishments. It creates a provocative disjuncture amid a wall of paintings by Canaletto (Italian, 1697-1768), Jean-Baptiste Oudry (French, 1686-1755), and Jacques-Louis David (French, 1748-1825).

Madame de Pompadour (French, 1721-1764) was the most famous of King Louis XV’s mistresses. She played a critical role in elevating rococo style to the pinnacle of aesthetic taste in mid-18th-century France. In 1756 she commissioned a tureen and platter from the renowned porcelain manufacturer in Limoges. Over two hundred years later, Sherman used the same factory to produce a limited-edition interpretation based on Pompadour’s original design.

Sherman takes on the guise of a historical tastemaker but allows viewers to be in on her joke. Close inspection of the photo-silkscreened portrait (reproduced twice on both the tureen and platter) reveals a pastiche—the theatrical make-up, somewhat ratty shawl, ill-fitting gray wig, and conspicuously faux breasts.

Cindy Sherman, “Madame de Pompadour (née Poisson)” soup tureen with platter, interior, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

Museum guests won’t glimpse the tureen’s additional humorous detail because it is hidden on the base of the interior. As a visual pun on Pompadour’s maiden name and extreme wealth, Sherman created a still life of fish (French, poisson) and beaded necklaces.

Creative Director: Louis Comfort Tiffany, Vase, c. 1905-1919, earthenware, Dallas Museum of Art, Discretionary Decorative Arts Fund

Tiffany Studios, Vase, c. 1905-1919, earthenware, Dallas Museum of Art, Discretionary Decorative Arts Fund

Several new installations spice up the displays in the North Decorative Arts Gallery. Here you can find the latest addition to the DMA’s collection of works by Tiffany. Placed in a corner case surrounded by other examples of leading art pottery manufacturers, the brilliant hues of this small vase seem to reiterate the impact Tiffany Studios had on American decorative arts.

The iridescent surface shimmers with deep indigos, purples, and teals. The shape conjures images of flower petals or buds. Both traits demonstrate Tiffany’s dual focus on nature and mastering a material’s technical possibilities.

He coined the term “Favrile” in 1893 as an adaptation of the Old English word for “handmade.” The same moniker distinguished the wares of the ceramic workshop when it opened at Tiffany Furnaces (Corona, New York). As seen here, the glazing process allowed for creative expression and experimentation on the surface of an object formed from an existing mold.

Archibald Knox, Liberty and Co., W. H. Haseler & Co., Box (model 652 variant), 1905, Dallas Museum of Art, anonymous gift.

The third object making its DMA debut appears in a case on the east wall of this gallery. It’s hard to miss a lavish box decorated with incised linear patterns and blue-green enamel, and topped by a sizeable opal. On the adjacent platform, a charger with ship motif (1881) and a bench (1900) echo the Celtic stylings seen on Knox’s construction. Taken as a whole, the arrangement illustrates the late 19th-century interest in national identity. Many artists in Europe used the contemporary archeological discoveries of Scandinavian sites as source material for a “Viking Revival” style.

This piece is one of four variants known to exist. Unlike the other, simpler iterations, the model 652 variant features a bulging lid beset with a substantial gem. Within Liberty & Co.’s Cymric line, this would have been one of the costliest items for sale. Thankfully, this and the other works described above can be seen free of charge at the Dallas Museum of Art.

Emily Schiller is the McDermott Graduate Curatorial Intern at the Dallas Museum of Art.

Make This: Poured Paint Sculptures

Published February 26, 2013 Creativity , DIY Tutorial Closed
Tags: Art, Center for Creative Connections, connections, Contemporary Art, creativity, Dallas Museum of Art, painting, program, sculpture, Studio Creations, works of art

Studio Creations participants share their thoughts about Lynda Benglis’ work.

During Studio Creations this month, we looked at Lynda Benglis’ Odalisque (Hey, Hey Frankenthaler), part of the special exhibition Difference?. There are many aspects of this work of art that make it fun to talk about with people, but what I find the most interesting is the way it challenges how we define painting and sculpture. To me, it really lives between the two! This idea provided the catalyst for our Studio Creations art making activity. During each workshop, visitors created poured paintings based on chance, which, when dry, could be peeled from the painting surface and made into something sculptural. Here’s a quick tutorial for creating the project at home with your family:

Supplies

Gloss medium or Liquitex pouring medium (available at most art supply stores)
Acrylic paint (I prefer gloss acrylics, but any type will work well)
Painting surface: A sheet of cardboard covered with heavy plastic (or something similar)
Squeeze bottles or cups for dispensing paint
Toothpicks for adding designs (optional)

Plastic-covered painting surface, gloss medium, and acrylic paint in squeeze bottles

Steps

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Squeeze a small amount of gloss medium onto the painting surface. Using your squeeze bottles or cups, drop a little bit of paint into the medium. There’s no right or wrong way to do this so feel free to experiment! Try planning it out or putting the paint in randomly.

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Now try tilting your painting surface in different directions. The paint will start to run depending on the direction and angle that you tilt it. This is where the part about chance comes in–you only have a certain amount of control over the paint as it moves. Chance played a big role in the way that Lynda Benglis created Odalisque–she didn’t have any control over the paint after pouring it.

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Whenever you feel like it, add more paint. But be sure to drop it into the medium–otherwise, it could break off from the rest of the painting when dry. Continue adding paint and tilting the surface until your painting almost reaches the edge.

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When you are finished, let your painting dry for at least one day. If you added a lot of paint, it may need an extra day or two to fully dry. Afterwards, carefully peel the painting away from the painting surface–it should be plastic-like in consistency.

Now try making it into something sculptural! Your painting can easily be cut and molded. Some ideas that came up during Studio Creations were: a mask, a bowl, a mouse pad, a jacket, and a sun catcher, among others. If you’d like to share your creation with us, feel free to send an image to jbigornia@dma.org and I’ll post it on our Flickr page.

Finished painting

Almost sculptural, don’t you think?

Detail of paint surface

Tips

Your painting does not have to look a certain way. Have fun and experiment!
For best results, I suggest using pouring medium instead of gloss medium. It’s a little bit more expensive, and it’s only made by Liquitex, but it was designed for projects just like this one and can prevent “crazing” in the paint. For super-duper results, mix a little bit of gloss or pouring medium into your paint before you start your project. One part medium to ten parts paint should be perfect. You can also try string medium!
You can get different designs by letting the paint run in one direction for a while and then turning it in another direction. This is really good for making swirls, circles, etc. You can use a toothpick to create fine lines as well.
The medium dries clear.
Lots of other cool poured paint projects can be found online!
Further questions? Feel free to shoot me an email!

JC Bigornia
C3 Program Coordinator

Deep in the Heart of Texas

Published February 25, 2013 American Art , Collections , Curatorial , Dallas , DFW Closed
Tags: Alexandre Hogue, American art, Charles T. Bowling, Dallas Museum of Art, DMA, Florence E. McClung, Jerry Bywaters, Merritt Mauzey, Otis Dozier, Texas, Texas Independence Day

Saturday is the 177th anniversary of the signing of the Texas Declaration of Independence on March 2, 1836. Celebrate Texas Independence Day this year by viewing newly installed works by Texas artists in the American Art Galleries on Level 4 or visiting the new exhibition Loren Mozley: Structural Integrity.

Otis Dozier, Cotton Boll, 1936, oil on Masonite, Dallas Museum of Art, gift of Eleanor and C. Thomas May, Jr.

Alexandre Hogue, Drouth Stricken Area, 1934, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase

Florence E. McClung, Squaw Creek Valley, 1937, oil on canvas, Dallas Museum of Art, gift of Florence E. McClung

Charles T. Bowling, Mason County Landscape, 1938, egg tempera on composition board, Dallas Museum of Art, gift of Eleanor and C. Thomas May, Jr.

Jerry Bywaters, Share Cropper, 1937, oil on Masonite, Dallas Museum of Art, Allied Arts Civic Prize, Eighth Annual Dallas Allied Arts Exhibition, 1937

Merritt Mauzey, Neighbors, 1938, oil on Masonite, Dallas Museum of Art, Arthur Kramer and Fred Florence Purchase Prize, Ninth Annual Dallas Allied Arts Exhibition, 1938 1938

Kimberly Daniell is the Public Relations Manager at the Dallas Museum of Art and Elizabeth Donnelly is the Exhibitions Assistant at the Dallas Museum of Art.

Culinary Canvas: Lemon Scones

Published February 21, 2013 Culinary Canvas Closed
Tags: Afternoon Tea, lemon, recipe, tea

Afternoon tea is an activity I have come to thoroughly enjoy, especially after having experienced it at Harvey Nichols in London. While I do like a good cup of tea, really I’m just a sucker for the delightful assortment of goodies that accompany it–and scones are definitely my favorite! So this month I was inspired by our striking lemon yellow tea service to make a lemon scone. This tasty, not too sweet treat is the perfect companion to a nice spot of tea.

Margarete Heymann-Marks, Tea Service, designed c. 1930, designer, Dallas Museum of Art, 20th-Century Design Fund

Margarete Heymann-Marks, Tea Service, designed c. 1930, Dallas Museum of Art, 20th-Century Design Fund

Lemon Scones

Yields 8 scones
Level: Easy

Scones:

2 cups all-purpose flour
1 tablespoon baking powder
3 heaping tablespoons sugar
½ teaspoon salt
Zest of 1 small lemon
4 tablespoons (½ stick) cold unsalted butter, cut into cubes
1 egg, lightly beaten
¾ cup heavy cream

Glaze:

Juice of 1 small lemon
Heaping ½ cup powdered sugar

Preheat oven to 425° F. Line baking sheet with parchment paper.

Scones: In medium mixing bowl, whisk together flour, baking powder, sugar, salt, and lemon zest. Using a pastry blender or two forks, cut in cold butter until mixture resembles coarse meal.

Combine beaten egg with cream and stir into dry ingredients with rubber spatula just until dough begins to form. Turn out mixture onto wax paper and knead lightly by hand until most flour is combined. Pat dough into a flat, slightly circular mass about 1 inch thick.

Place dough on baking sheet and cut into 8 wedges. Brush top with additional cream if desired and spread out wedges on sheet. Bake until tops of scones are light brown and centers are flaky, about 13-15 minutes. Allow to cool slightly on baking sheet then transfer to metal rack to cool completely.

Glaze: Whisk together lemon juice and sugar in small bowl until smooth. Additional sugar or juice can be added to achieve desired consistency.

Pour glaze onto cooled scones until completely covered. Allow glaze to set and serve at room temperature.

Dough prior to kneading

Dough cut into wedges

OLYMPUS DIGITAL CAMERA

Recipe adapted from Baking Illustrated.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

The Arts of India, Southeast Asia, and the Himalayas

Published February 20, 2013 Asian Art , Collections , Curatorial Closed
Tags: Dallas Museum of Art, DMA, Himalayas, India, Shiva Nataraja, Southeast Asia, Standing Buddha, Thinking Bodhisattva, Vishnu as Varaha

On February 28, the DMA will celebrate the publication of the first catalogue dedicated to exploring the Museum’s collection of South and Southeast Asian art. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art was written by Dr. Anne R. Bromberg, the DMA’s Cecil and Ida Green Curator of Ancient and Asian Art.

The catalogue examines over 140 sculptures, architectural pieces, and other works of art that represent the many cultures and religions of India, Southeast Asia, and the Himalayas. Both visually and intellectually compelling, the catalogue celebrates the beauty and diversity of art from the region, as well as its social and historic significance.

The DMA’s South Asian collection has been growing since the first statue from the region was acquired in 1955. Since then, several exhibitions have led to the expansion of the collection, including the groundbreaking exhibition The Arts of Man in 1962 and the 1993 exhibition East Meets West: Selections from the David T. Owsley Collection. Following that exhibition, Mr. Owsley agreed to donate the exhibited works to the Museum, providing the core of the new Asian galleries that opened in 1996. He is also leaving his personal collection to the Museum in his estate.

We invite you to visit the Asian galleries to see (for free!) works from the catalogue that are currently on view, including the following and many others.

Shiva Nataraja, Chola dynasty, 11th century, bronze, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund

Shiva Nataraja, South India, Tamil Nadu, Chola dynasty, 11th century, bronze, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund

This bronze sculpture of Shiva, the Hindu god of destruction, shows him in his form as the Lord of the Dance. His dancing obliterates ignorance, signified by the dwarf beneath him. On special occasions, metal images such as this one were taken on procession both within the temple and in the surrounding area.

Vishnu as Varaha, 10th century, sandstone, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen

Vishnu as Varaha, Central India, Madhya Pradesh, 10th century, sandstone, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E. E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen

This sculpture portrays Vishnu, the Hindu preservation deity, as his incarnation of Varaha, with the head of a boar and the body of a human. He is shown triumphantly rising up from the ocean with the earth goddess, whom he has just rescued from the sea-demon that tried to drown her. Large figures of Varaha such as this one were often used to commemorate a king’s victory in battle, drawing an analogy between the righteousness of Varaha and the monarch.

Shrine, late 18th-19th century, silver over wood, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation

Shrine, India, Gujarat, late 18th-19th century, silver over wood, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation

This magnificent shrine is covered with a silver veneer and represents a miniature version of the universe; imagery evolves from the earthly realm of human activity to the heavenly realm with celestial dancers and birds near the dome. The eclectic imagery makes it difficult to identify as either Jain or Hindu without the holy figure that would have been seated in the middle. Shrines such as this one were used in private homes as well as in devotional chapels in larger temple complexes.

Buddha Sakyamuni, Khmer, c. 13th century, gilded bronze, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and Wendover Fund

Standing Buddha, Thailand, Lopburi style, 13th-14th century, gilt bronze, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and Wendover Fund

This gilt bronze statue of the Buddha stands with his hands out in a gesture meant to drive back floodwaters. The Buddha’s spiritual wealth is reflected in the lavish material of his clothing and intricate decoration of his crown and jewelry. The artistic style is named after the central Thai city of Lopburi, which was both the political and artistic center of the region.

Bust of a bodhisattva, Kushan, 2nd-3rd century, gray schist, Dallas Museum of Art, gift of Margaret J. and George V. Charlton

Bust of a bodhisattva, India, Gandhara, Kushan period, 2nd-early 4th century, gray schist, Dallas Museum of Art, gift of Margaret J. and George V. Charlton

This terracotta sculpture represents the last of the bodhisattvas that preceded the historical Buddha. This bodhisattva will be reborn as Siddhartha Gautama, the Buddha. Here, he is meditating on that reincarnation.

Please join us on Thursday, February 28, for a discussion led by Dr. Bromberg with fellow contributing authors to the book: Frederick M. Asher, Chair of the Department of Art History at the University of Minnesota; Robert Warren Clark, Coordinator of the Tibetan Language Program at Stanford University; and Nancy Tingley, an independent curator of Southeast Asian art. During this insightful program, they will discuss the history of the South and Southeast Asian collection at the DMA, as well as the process of creating the catalogue and what they found most interesting from the experience.

Andrea Lesovsky is the McDermott Graduate Curatorial Intern in Ancient and Asian Art at the DMA.

C3 The Place To Be!

Published February 19, 2013 Creativity 2 Comments
Tags: C3 Artistic Encounters, C3 visiting artist, Center for Creative Connections, Creativity Challenge, Thinking Creatively

The Center for Creative Connections is a hands-on, interactive, experimental learning environment for people of all ages at the Dallas Museum of Art. I am honored to be part of some amazing programs for adult visitors that offer a variety of learning experiences for beginners and experts!

Thursday Night Programs

Twice a month during DMA’s Thursday Night Live, C3 offers two-hour adult workshops from 6:30-8:30 p.m. in our classrooms. During one of these Thursday evenings we bring in creativity expert Magdalena Grohman, Ph.D. from The University of Texas at Dallas, and a local art educator to lead Think Creatively. The Think Creatively program provides adults the opportunity to put creative thinking to practice and discover the power to transform the imagination. Each workshop has a different theme and focus on one of the following: associations, inquisitiveness, or transformation. To sign up for upcoming C3 Adult workshops click here.

Participants discussing their work.

The other Thursday program offered is our C3 Artistic Encounters workshop where we invite local artists from the community in to lead art making workshops related to the DMA’s collection. In addition to that, this year we also featured an evening called C3 Digital Show and Tell where our visitors submitted their personal artwork and work they created during the C3 classes to show to everyone on the big screen!

C3AE with guest artist Juergen Strunk

Late Night Programs

Late Night at the DMA is an incredible evening for the entire family. There is always something happening in our various theaters, stages, classrooms and galleries. One of our Late Night programs is the Creativity Challenge. Ten teams compete against time and others with limited materials in order to make unique creations inspired by works of art from our collection. These challenges are always fun, risk-free, hands-on and meant to encourage divergent thinking.

Creating love songs to works of art and musical instruments. This team is creating a one woman band!

Miss DMA Creativity Challenge

Our next Creativity Challenge will be during Late Night on March 15^th. Bring your team and sign up with me at 9:30 p.m. in C3!

Be sure to come by and check out the exciting programming happening in C3!

Amanda Batson
C3 Program Coordinator

Friday Photos: Artwork Comic Strip

Published February 15, 2013 Art & Teaching , Friday Photos , People 1 Comment
Tags: artwork comic strip, Go van Gogh, interpretation, stories in art, Vishnu as Varaha, volunteer training

Last Friday, new Go van Gogh volunteers spent time in the galleries with artworks from our 3^rd grade Stories in Art program. Stories in Art encourages students to spend time looking closely at different elements of an artwork, trying to discover a “story” behind it.

As part of the program, volunteers become storytellers, telling a story that inspired our artwork Vishnu as Varaha. Our Vishnu sculpture illustrates just one moment in the story A Boar Saves the World, so we spent some time imagining what the rest of Vishnu’s adventure might look like and created a comic strip from our ideas.

To create our comic, each volunteer took 1-2 sentences from the story and sketched their interpretation. Below is the resulting artwork comic strip and an image of our Vishnu as Varaha sculpture inserted in the proper place in the narrative.

Enjoy!

Amy Copeland
Manager of Go van Gogh and Community Teaching Programs

: Travel Painting of the Virgin Mary and Child, Mexico, late 18th century

: Defense of Vienna, Mexico, c. 1690’s

: Kimberly Daniell, PR Specialist

: Museum of Fine Arts, Houston

: View Inside and Outside Mexico City, Mexico, c. 1640

: Views Inside and Outside Mexico City (detail), Mexico, c. 1640

: A concrete poem created by one of the teachers

: Queta Watson, Editor

Artwork shown:

Vishnu as Varaha, 10th century, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen

Show Me the Love!

Published February 14, 2013 Creativity , works of art Closed
Tags: animals, bubbles, couple, Hero, Love, match, pairs, Valentine

It’s Valentine’s Day, and love is in the air here at the Museum! The works of art might not have their own shoebox mailboxes like the one I made in third grade, but I like to imagine the homemade Valentines they might pass between each other. We have our “going steady” couples, our “head over heels” couples, and even a few secret admirers. If you haven’t made your own Valentines yet, don’t fret—there’s still time. Take a note from the art couples below, use the DIY tutorials featured, and you’ll be showing the love to your one and only in no time.

The Metaphor Response Wall

These two are joined at the hip! Painted by John Singleton Copley in 1747, Woodbury and Sarah Langdon were real-life sweethearts who commissioned the artist to paint their portraits shortly after their marriage. Woodbury was a wealthy New Hampshire merchant with dreams of politics, and Sarah was his young bride. The couple eventually had ten children, and Woodbury went on to hold political office and serve on the New Hampshire Superior Court. Since these two are never far apart, I can imagine Woodbury sending this Valentine to his sweetheart:

Download a template and find instructions for this project at the Bird’s Party blog.

Edward Hicks, The Peaceable Kingdom, c. 1846-1847, Dallas Museum of Art, The Art Museum League Fund

These animals have been peacefully sharing their close quarters for years! Painter Edward Hicks returned to this subject again and again, imagining a world where the lambs and lions, leopards and kids could all exist together in peace. Heavily influenced by his Quaker roots, Hicks painted this subject more than one hundred times. After spending all that time together, I imagine these animals consider one another family. Perhaps the bear could send this Valentine to the lamb?

Free printables and an animal group cheat sheet can be found at the Modern Parents, Messy Kids blog. Who knew that a group of giraffes is called a tower?

The response Jennifer left on the wall earlier that day!

This trio is often seen hanging out in the galleries together like best buddies. There’s the boisterous, rowdy friend and the beautiful, calm sidekicks. Vernet’s A Mountain Landscape with an Approaching Storm (top left) highlights the wild beauty and sheer power of nature, while Anne Vallayer-Coster’s floral still life paintings (bottom left and right) capture the calm, quiet loveliness of a well-placed petal. Can’t you imagine the still life paintings slipping this Valentine into Approaching Storm’s pocket (perhaps with some giggles)? With its gusting winds and swelling clouds, how could Storm resist the bubbles?

Find bubbles at the dollar store and use this free printable from the Lil Luna blog to make your own.

Vishnu as Varaha, 10th century, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen

This pair is one of those “you’re my hero” kind of relationships. The 10th century statue from India depicts the Hindu god Varaha in his boar-headed avatar Vishnu. When the earth goddess Prithvi is imprisoned under the sea by an evil demon, Vishnu saves the day, rescuing her from the depths. Look closely and you can see Prithvi perched on Vishnu’s shoulder. No doubt, she would send him this Valentine:

Use the free printable at the Zakka Life blog for the superhero in your life.

I hope you are feeling inspired by our artsy couples. Come pay them a visit and decide for yourself if the Valentine fits. As for your own Valentine’s bliss, if all else fails, bring your true love to the DMA and let them know this:

(Print available for purchase at Love Sugar’s etsy shop)

Leah Hanson
Manager of Early Learning Programs

The Color of Love

Published February 13, 2013 Collections Closed
Tags: Dallas Museum of Art, DMA, Emperor Wanli, Inca, Mark Rothko, Marsden Hartley, Paul Gauguin, Valentine’s Day

Love is in the air, and red is on the walls of the DMA. Since Valentine’s Day is tomorrow, we decided to explore the works in the collection that represent the color of love. Below are a few works you can visit in the DMA galleries without charge, now that we have free general admission, and you can check out other red works in the collection on the DMA’s Pinterest page. If you are looking for a fun date night to celebrate Valentine’s Day, stay out until midnight on Friday for our February Late Night; visit the DMA’s website for the Late Night schedule.

Crawford Riddell, Bed, c. 1844, brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Mark Rothko, Orange, Red and Red, 1962, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, (c) 2013 kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

Marsden Hartley, Mountains, no. 19, 1930, oil on board, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Paul Gauguin, Under the Pandanus (I Raro te Oviri), 1891, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Adele R. Levy Fund, Inc.

Paul Gauguin, Under the Pandanus, 1891, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Adele R. Levy Fund, Inc.

Rectangular box, mark and reign of Emperor Wanli (r. 1573-1619), dated in inscription to 1595, cinnabar lacquer over wood core, Dallas Museum of Art, gift of Mr. and Mrs. George A. Shutt

Rectangular box, China, mark and reign of Emperor Wanli (r. 1573-1619), dated in inscription to 1595, cinnabar lacquer over wood core, Dallas Museum of Art, gift of Mr. and Mrs. George A. Shutt

Tunic with checkerboard pattern and stepped yoke, Inca culture, Late Horizon, 1476-1534, camelid fiber, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Carol Robbins

Tunic with checkerboard pattern and stepped yoke, Peru, Inca culture, Late Horizon, 1476-1534, camelid fiber, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Carol Robbins

Dallas Museum of Art Uncrated

Archive for February, 2013

Seeing Red

Soup’s On

Make This: Poured Paint Sculptures

Deep in the Heart of Texas

Culinary Canvas: Lemon Scones

The Arts of India, Southeast Asia, and the Himalayas

C3 The Place To Be!

Friday Photos: Artwork Comic Strip

Show Me the Love!

The Color of Love

Search Uncrated

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