Official behind-the-scenes blog of the Dallas Museum of Art
On Monday, DMA staff broke bread together for a Thanksgiving potluck. Check out all the amazing treats and eats we enjoyed!
We hope you and yours enjoyed a delicious Thanksgiving holiday too!
Sarah Coffey
Assistant to the Chair of Learning Initiatives
At this time of year, many people begin to take stock of moments and experiences they are thankful for. The act of sharing this gratitude with others, and reviewing those things that may have been taken for granted, can actually increase an individual’s well-being. According to Cicero, “Gratitude is not only the greatest of the virtues but the parent of all others.” In an effort to spread this sense of well-being to our Canvas blog readers, I asked my colleagues in the Education Division to share a work of art from the DMA’s permanent collection or special exhibitions that they are thankful for—whether it is a work they enjoy visiting in a moment of free time; or perhaps one they regularly use in a program; or even a work of art they would like to learn more about. Enjoy their responses below and of course, feel free to share your own! 🙂
Amanda Batson – C3 Program Coordinator. I am thankful for The Halberdier by Ferdinand Hodler, located in our European collection. This massive work of art confronts you as you exit the blue elevators in an inescapable way. At first glance, the soldier seems fierce and almost living up to his reputation as the ultimate protector of Switzerland. I am incredibly thankful for this work of art by Hodler because no matter how fierce or stoic it may seem—it has a bit of whimsy. If you look closely you will notice that the mustache of the Swiss soldier goes up towards his cheek on one side and down towards his chin on the other. I am not sure what the intention of the artist was but I cannot help but laugh about this every time I see it! Some days you just really need a laugh! 
Amelia Wood – McDermott Intern for Family and Access Teaching. When Jim Hodges: Give More Than YouTake opened in October, I immediately felt a connection with the artwork.I was especially struck by Diary of Flowers (When We Met). My interest in diaries was sparked when I saw Day After Day: The Diaristic Impulse at the University Art Museum in Albany, NY, last spring.Artists involved in this show were focused on recording their daily lives, including personal rituals, narratives, and experiences. I’ve never been great at keeping a diary, and I was moved by the way in which the process of keeping a diary forces you to slow down and appreciate day-to-day life. Hodges Diary of Flowers has evoked a similar response in me, and I’ve enjoyed revisiting the artwork when I need a reminder to slow down and, well, smell the flowers.
Rhiannon Martin – Volunteer Coordinator. I am thankful for the sculpture garden as a whole, because it is a nice place to escape from the busy work day for a bit and enjoy the weather when it’s nice out. The sculptures throughout the lawn are a beautiful backdrop and help to create a wonderful space to sit and relax. 
Amy Elms – McDermott Intern for Visitor Engagement. I’m thankful for Family Portrait 1963 because it helped me to become oriented with the DMA’s weekend Studio Creations when my internship first began. Martin Delabano’s sculpture is filled with so much hidden meaning and is also made from a variety of found objects. While helping with Studio Creations in September, I really enjoyed learning about ways that visitors of all ages can become engaged with a work of art.
Leah Hanson – Manager of Early Learning I’m grateful for Henri Matisse’s Ivy in Flower primarily because it just makes me happy. I like the bold, clean shapes, the colors, and the order of it. Matisse was a favorite of mine in the art history classes I took, and I wrote a paper about his cut paper collages in particular. I liked that he found a way to create even at a time when it could have been easy to give up or lose hope. When I finally got to see this in person, I was so amazed at how large it is…you can never tell that in a reproduction or a print. I loved when it was hanging in the Concourse just outside C3 because I saw it every day.
feel the energy and sheer joy of being in that space. It’s hard to describe the appeal of watching people sing karaoke, and I certainly hadn’t listened to much of The Smiths before that show. I think what resonated for me was the absolute love and passion that each person brought to their performance; you could totally empathize with that person’s sense of happiness, loss, etc. I used to spend part of every day in that exhibition because no matter how down I felt, I always came out of there feeling charged up…there’s really no other word to describe it except infectious. I was always thankful to have that kind of place to escape to and I think the lessons I took away from each of the participant’s performances—bravery, honesty, compassion—will always stay with me.
Jessica Fuentes – C3 Gallery Coordinator. I’m thankful for HI-C Avenger by John Hernandez. I love that this piece is so bright and energetic. It catches the attention of visitors of all ages, and as it is currently installed at the entrance of the Center for Creative Connections, an interactive educational space for all ages, it is a perfect fit! I also love telling visitors that this is a piece by a Texas based artist who used to live in Oak Cliff and graduated from UNT. Having work by local artists can be so inspiring to young artists.
Hayley Prihoda – McDermott Intern for Gallery and Community Teaching. Picturing that Day stood out to me on my first tour of the Jim Hodges: Give More Than You Take exhibition and, after innumerable visits, has remained one of my favorite works in the show. Having performed in choir in high school, the imagery of the sheet music immediately reminded me of my adolescence. Upon closer examination, I was excited to discover that the piece also features two of my favorite songs – “Landslide” and “Climb Every Mountain”. My mom is a beautiful singer and my sister and I grew up listening to Fleetwood Mac and watching the Sound of Music. Now that I am 1000 miles away from my family, I am very grateful to have this connection to home on view at the DMA.
Works of art shown:
I’d like to say how thankful I am to all of you who shared some of your favorite works of art!
Danielle Schulz
Teaching Specialist
It’s that time of year again, and the excitement of the Dallas PCS Marathon has arrived! Last year, the marathon races drew over 15,700 runners and 300,000 spectators. It’s expected to be bigger than ever this year, and the city of Dallas is pulling out all the stops. The Dallas Museum of Art is joining the city in welcoming runners and their friends, families, and fans alike!
As both a McDermott intern in the education department and a runner, I had the pleasure (and pain!) of gaining my Museum feet during the height of my training for the marathon. As I learned to navigate through the galleries, I discovered that the DMA has many things in common with a marathon: it’s huge, it’s inspirational, and there are lots of friendly staff members to support you along your journey. Therefore, I am thrilled to combine two of my passions–running and museums–in inviting you to embark on your very own DMA Marathon. I’ve highlighted some of my favorite artworks throughout the DMA’s galleries, hand-picked to motivate, inspire, and refuel you. So, what are you waiting for? Lace up your running shoes, and get ready to explore!
Registration: DMA Atrium
The DMA has free general admission (every day!), so you don’t need to pull out your wallet for this race. But please do hit up the Visitor Services Desk to sign up for the DMA Friends program. With your shiny new DMA Friends membership, you’ll be able to check in at various locations in the Museum and earn points toward exciting DMA rewards such as free parking, sneak peeks at new exhibitions, and exclusive Museum experiences. The Atrium is also a great place to grab a pre-race bite in the DMA Cafe, use the line-free bathrooms, and get in your stretches in front of Robert Rauschenberg’s breathtaking Skyway or Rufino Tamayo’s iconic painting El Hombre (Man).
Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY
Rufino Tamayo, El Hombre (Man), 1953, vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds, (c) Estate of the artist in support of Fundacion Olga y Rufino Tamayo, A.C.
Resist Temptation and Find Your Pace: Level 4: Ancient American Art and American Art
The starting gun goes off and you head up the stairs to Level 4, where you will come face to face with Tlaloc, the DMA’s rain god. But no need to worry about rain inside the Museum, Tlaloc was also a war god and will send you off with blessings of stamina and power!
Head of the rain god Tlaloc, Mixtec, Late Postclassic period, c. 1300-1500, ceramic, tufa, stucco, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus in memory of Mary Freiberg
As you make your way by Crawford Riddle’s bedstead, deemed “The Big Bed” by our younger visitors, try not to be distracted with thoughts of putting your feet up so early in the race. You’ve worked hard to prepare for this moment, and this bed should serve as a reminder that some well-deserved relaxation awaits you at the end of this journey!
Bedstead, Crawford Riddell, 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
Also, I know how easy it is to let the excitement of the race throw off your timing. Gerald Murphy’s Watch is a great reminder to check your pace and adjust your gallery viewing speed if necessary.
Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, (c) Estate of Honoria Murphy Donnelly
Dodge Obstacles and Find Inspiration: Level 3: Arts of Africa, Asia, and the Pacific, The Wendy and Emery Reves Collection
Head down the stairs to Level 3, where you will come face to face with sculptures, jewelry, and artifacts from Africa, Asia, and the Pacific. You may want to pick up the pace when you spot the coffin of Horankh in the Ancient Egyptian gallery. We have several Egyptian coffins (including one with an actual mummy inside!), and although they are beautiful, they are rumored to look a little too alive at times!
Coffin of Horankh, Egypt, Thebes, Late Period, c. 700 B.C., wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund
Before you leave the third floor, loop around to the Wendy and Emery Reves Collection for some inspiration. Vincent van Gogh’s Sheaves of Wheat is a breathtaking sight that should not be missed!
Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection
Beat “The Wall”: Level 2: Ancient Mediterranean and European Art
Trot down the stairs to Level 2, where you will glide between athletic bodies featured in the Greek and Roman statues, busts, and antiquities. Pat yourself on the back; after this race, you will be able to rank yourself among these talented athletes!
At this point in the race, it is common to hit “the wall,” and you may be starting to feel like the characters in Fernand Leger’s Divers or Picasso’s Guitarist in the European galleries, but keep going–you’re almost to the end!
Fernand Léger, The Divers (Red and Black), 1942, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, (c) Artists Rights Society (ARS), New York/ADAGP, Paris
Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, (c) Estate of Pablo Picasso/Artists Rights Society (ARS), New York
The Light at the End of the Tunnel: Level 1: Contemporary Art
Your heart is pounding as you head into the final stretch of the marathon. Your final leg will take you back up the Museum Concourse to the finish line in the contemporary art galleries. You can hardly believe your eyes when you catch a glimpse of Mark Rothko’s Orange, Red and Red and wonder if you are seeing a mirage. But it is real, and the finish line is surrounded by gorgeous contemporary works. Take in the sights as you relish this moment–you did it!
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) 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York
It’s been my pleasure to take you along on the DMA Marathon. We hope that you are able to join us during marathon weekend and experience the Museum firsthand! Best of luck to all of my fellow runners; see you at the finish line!
Amelia Wood is the McDermott intern for family & access teaching at the DMA.
While New England can claim the original Mayflower, the South has the Steamboat Mayflower! The DMA’s collection includes this 1855 color lithograph by Nathaniel Currier of the high-pressure steamboat Mayflower.
Happy Thanksgiving to you and yours, and safe travels whether by plane, car, or steamboat!
Nathaniel Currier, after Charles Parsons, High Pressure Steamboat Mayflower, 1855, color lithograph, Dallas Museum of Art, Junior League Print Fund
Stacey Lizotte is the head of adult programming and multimedia services at the DMA.
We must never forget that art is not a form of propaganda; it is a form of truth. … In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society – in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost’s hired man, the fate of having “nothing to look backward to with pride, and nothing to look forward to with hope.”
– President John F. Kennedy, Amherst College, October 26, 1963
Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr., and General Acquisitions Fund, © Rauschenberg Estate/Licensed by VAGA, New York, NY
Since beginning my McDermott Internship, I’ve had the wonderful opportunity to explore ways that visitors can develop engaging, memorable experiences here at the DMA. One unique aspect of my internship has been the opportunity not only to work with those already in the Museum, but also to share information about DMA educational resources with the Dallas community.
Maria Teresa Garcia-Pedroche, Head of Community Engagement, devotes her time to forming deep connections with community organizations and I’ve been privileged to join her as she worked with two of these groups: AVANCE and Trinity Links.
AVANCE is a nonprofit organization that provides family support and educational services to at-risk families. In October, Maria and I visited some of the organization’s adult learning classes to share information about C3, First Tuesdays, Studio Creations, DMA Friends, and Late Nights. Many in the class were unaware of these free programs and were excited to take their families to the Museum.
Maria Teresa discusses DMA Friends with AVANCE members.
AVANCE members learn about DMA programs.
Trinity Links is a female service organization whose members currently work with the SoSMAART Girls, a group of girls dedicated to learning more about science, math, the arts, aviation, reading and technology. Trinity Links recently brought the SoSMAART Girls to the DMA for personalized tours and studio workshops. Many of the girls were first time visitors to the DMA and enjoyed learning more about Jim Hodges and about traditional methods of dying fabric.
Trinity Links members arrive at the DMA with the SoSMAART Girls.
SoSMAART Girls tour C3.
SoSMAART Girls and their families dye their own fabric after visiting Saturated.
I’m excited to connect with more Dallas organizations in the coming months as I continue working with Maria Teresa. How do you connect with organizations in your community?
Amy Elms
McDermott Intern for Visitor Engagement
The DMA has over 100 docents who lead tours for visitors of all ages. Our docents are here every Monday for training from 10:00 a.m.-12:00 p.m. Their training sessions are led by the DMA’s curators as well as outside speakers, and topics include both our permanent collection and special exhibitions. Some of our docents have been part of the docent family for 43 years, while others have been with us for only three months.
I have the pleasure of spending every Monday afternoon with our fifteen funny, smart, and dedicated new docents. Since September, the new docents have been learning how to teach with works of art. Each week, we immerse ourselves in the DMA collection with experiences ranging from how to look at a painting to imagining a text message exchange between two portraits.
This week, the new docents had their first introduction to our American galleries. I divided the docents into 3 groups and each group was assigned to a landscape painting. Their task was to recreate the painting using only their bodies. My ambitious group went one better–they created sound and movements, too! I couldn’t resist sharing the videos I filmed of their performances.
Annette, Charlie, Debi, Evan, and Lauren did an interpretive dance for Georgia O’Keeffe’s Gray Blue & Black-Pink Circle.
Shannon Karol
Manager of Docent and Teacher Programs
This Thursday, November 21, at 7:30 p.m., the Dallas Museum of Art will feature three local artists in conversation about the art scene in the Metroplex. We asked them each a question about their work before they take the stage on Thursday!
Photo by Michael A. Muller
Sarah Jaffe, musician
What is your favorite venue to play at in the Metroplex and which performance there stands out in your mind?
I have a few that I’m quite partial to. I love Sons of Hermann Hall. I haven’t played there in quite some time but played a lot of memorable shows there. I’m partial to Club Dada as well because I played my very first shows in that club. But my favorite venue is The Granada. I remember the very first time I played that theater almost eight years ago. Then I remember six years later selling it out for my first time. It was an incredible night for me and my band members. The crowd was full of energy. It was a celebratory night.
Steven Walters, actor, Dallas Theater Center, and founder, Second Thought Theatre
You’ve been working in the Dallas theater scene for a while now, including founding Second Thought Theatre. How has Dallas and the local community influenced your work?
I truly love this city. I cut my teeth here. Dallas is a city of “Doers.” From my point of view, it’s a fundamental part of the culture of the Big D—we get stuff done. Sometimes though, in the process of getting things done and driving toward our goals, we Dallasites don’t take the time to stop and take stock. Second Thought Theatre was founded, in part, in response to this characteristic. STT’s mission essentially says, Stop what you’re doing for an hour or two, and let us tell you a story. We’ll make you think about your life and your community. Sometimes we’ll make you laugh, and other times we’ll make you question your ideas. But it’ll always be a changing experience. And after the show’s done, you can take it with you into your day to day life, or you can leave it at the theater until the next time you come see us. I’ve always been in a dialogue with this city through my work at Second Thought Theatre.
Bruce Wood, founder, Bruce Wood Dance Project
You draw inspiration from many avenues, and Texas has influenced you in many ways and is seen through many of your pieces, including “Dust” and “Texas.” Can you tell us a bit about how Texas has influenced your artistic vision?
I grew up in a part of Texas where you could see twenty miles in any direction. I think of it as beautiful. I consider that my land. I know it has shaped my aesthetic, because it shaped me. My work is spare and free from artifice. I love empty space in a dance. I don’t feel compelled to fill all of the space with dance. It’s okay to leave some room for the dance to breathe. I am also okay with stillness, which is ironic considering the form is about movement, but stillness gives movement importance. If you want to make a movement important, you surround it by stillness. I’m from Texas. I have found that I grow better in empty spaces with big skies; bright, dazzling, relentless sun; and winds that just rip across the land. I wouldn’t be the same and the work would not be the same. It’s really that simple.
Join us on Thursday evening to learn more about our guests and perhaps draw a little inspiration.
Note: Some answers have been edited for space.
Liz Menz is the manager of adult programming at the DMA.
It’s that time of year—the leaves are starting to change colors, the weather is getting cooler, and men everywhere are starting to grow mustaches.
We are getting close to the halfway point of the monthlong event of Movember, in which men give their razors a break to raise awareness of men’s health issues, such as prostate cancer.
In honor of this great month, and because I am a woman and cannot grow a ‘stache, I’ve included images of my favorite mustachioed men currently on view at the Dallas Museum of Art.
Rafael Ximeno y Planes, The Silversmith Jose Maria Rodallega, c. 1795, oil on canvas, Lent by Felipe Siegel, Anna and Andres Siegel
Jose Maria Rodallega, one of Mexico’s most famous silversmiths, is sporting first-week-of-Movember stubble in the Spanish Colonial Gallery on Level 4.
Jerry Bywaters, Share Cropper, 1937, oil on Masonite, Dallas Museum of Art, Allied Arts Civic Prize, Eighth Annual Dallas Allied Arts Exhibition, 1937
Also on Level 4 is Jerry Bywaters’ Share Cropper, who is sporting a patchy week 2 mustache, but don’t tell him I said that.
Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund
Is there a mustache in Pablo Picasso’s The Guitarist? Check out this crazy cubist painting on Level 2 and decide for yourself.
Virabhadra, Karnataka or Kerala, India, 16th–17th century, stone, Dallas Museum of Art, gift of Alvin and David T. Owsley via the Alvin and Lucy Owsley Foundation in memory of Colonel Alvin M. Owsley, with the assistance of the Wendover Fund
The Hindu god Shiva is seen on Level 3 in a warlike form as Virabhadra. He has a perfectly groomed mustache fit for a god, and he gets bonus points for the super cool hat.
Charles Webster Hawthorne, The Fish and the Man, 1925, oil on canvas affixed to composition board, Dallas Museum of Art, Dallas Art Association Purchase
Check out this epic mustache found on Level 4! Maybe by the end of Movember, many men will have a mustache as amazing as this Cape Cod fisherman’s.
Frida Kahlo, Itzicuintli Dog with Me, c. 1938, oil on canvas, Lent by Private Collection
Oh, Frida. You are the only woman I know who can rock a mustache! You go girl!
You can learn more about Movember and how to donate to men’s health programs by visiting the Movember Foundation’s website.
Madeleine Fitzgerald is the McDermott Education Intern for adult programming and Arts & Letters Live at the DMA.
The C3 adults are at it again and this time they didn’t spare one ounce of fun! C3 offers a variety of programming for adults on Thursdays, when our visitors have the opportunity to have hands-on experiences with art and artists, be social, and experiment with materials. Think Creatively, one of our popular programs, allows visitors to dig deeper into certain aspects of creative thinking.
Think Creatively on November 7 was designed around the theme of play and how it helps adults enhance their thinking and learning. Dr. Magdalena Grohman and I decided to ask our participants to step out of their comfort zone and participate in a TASK party. TASK parties, originally designed by artist Oliver Herring, are improvised events with loose structure and minimal rules.
There were a set amount of tasks already created with an intent to promote play and participation from the same perspective as Mildred Parten. Parten studied social play in children and suggested that there are six types of play:
We knew that anything could happen—and it sure did!
Task Pool
Task: Build a fort for a cat
Task: Tell someone in the museum a secret
Working away!
Visitors at play
Task: Draw a portrait
Task: Create a Mask
Don’t miss our next Think Creatively workshop on December 5, 2013. If you are reading this post and are interested in attending for 50% off–click here and enter the special code: CANVAS.
Amanda Batson
C3 Program Coordinator
