We’ve reached the final weekend of our Laura Owens exhibition, and the whimsy and wonder that lit up our Hoffman Galleries will be fondly missed after its closing day on Sunday, July 29. This exhibition has been inspiring to many, and we can see why; the intricate artworks that represent the artist’s career from the mid-1990s to today include intriguing themes of fantasy, pop culture, nature, technology, and the avant-garde that tie it all together. Exploring Owens’s art was the highlight of many fun spring and summer programs and classes at the DMA, including Arturo’s Art & Me, Family Workshops, and Teen Tours. We also saw incredible new works of art created by visitors to the exhibition, including this vivid poem written by a young poet in The Writer’s Garret‘s summer program “Rail Writers.”
Among the inspiring aspects of this presentation is how delightfully “Instagram-able” it is, allowing viewers to create their own stories around each playful artwork and connect with an even broader audience. Just search the hashtag #LauraOwens and you’ll find a lively array of visitors interacting with Owens’s bold works and becoming part of the art. With bright colors, thickly layered swashes of paint and other mixed media, and untitled works that leave many subjects up to the imagination, these works are all about stimulating and sharing curiosity. Here’s a look back at what a few of our visitors had to say about their experiences:
“Laura Owens is an amazing artist; prior to my venture I hadn’t heard of her. But now, I am a fan.” –@_.mickelodeon._
“Went to see some art without realizing we are the art.” –@ary_balderrama
“Her work is LOUD, quirky, silly, dimensional, full of layers!” –@in_dfwfamily
“Exhibición de Laura Owens está llena de color y amor” –@edithvm
There is still time left for you to share your perspective from this exhibition, whether it’s on social media or through artistic creations of your own. Either way, there is plenty to take away from Owens’s art, and we hope you take the opportunity this weekend to discover what that inspiration looks like for you.
Hayley Caldwell is the Communications and Marketing Coordinator at the DMA.
Alexander Calder’s Flower is back in the galleries after undergoing recent treatment in the Objects Conservation Lab. This mobile, a highlight of the collection, was given to the Museum in 1949, after it was commissioned for the Dallas Garden Club Flower Show by Mrs. Alex Camp and the Dallas Garden Club. The acquisition marked the beginning of the Museum’s contemporary art collection.
An early photo of Flower from the DMA Archives.
In recent decades, Flower has not flowed or moved as Calder originally intended because of damage that occurred in 1979. While installed at the Museum’s former home in Fair Park, the mobile fell two stories and crashed to the ground after its hanging attachment failed. This caused loss of paint and some minor structural changes to the mobile’s elements. Because the piece is very carefully balanced in its construction, and weighs only four pounds overall, these slight deformations created noticeable alterations in how the mobile moved. Paint losses were addressed at the time, but all attempts to return the mobile to its original form were ultimately unsuccessful.
In preparation for Flower’s current display, DMA Associate Objects Conservator Fran Baas and I performed a conservation treatment this past fall. Our work enabled the mobile to move again in a way that more closely represents Calder’s original design. It also provided a unique opportunity to learn more about Flower’s history.
Assistant Conservator Elena Torok examines the mobile’s condition.
Archivist Hillary Bober and Associate Conservator Fran Baas look through Museum scrapbooks from the 1950s.
As we worked with DMA Archivist Hillary Bober to examine Calder’s original 1949 drawings and archival photographs of an early 1950s installation, subtle differences became clear. Most notably, one central metal hook was bent in an entirely different position than it had been. The changed areas were carefully manipulated back to their original positions to the extent that was safely possible. Although these repairs were very small, they created big changes in how the mobile moves overall.
Flower on display after recent conservation treatment.
After many years, Flower finally hangs in a way that is much closer to what Calder intended. This beautiful floating sculpture is now on view in the Museum’s Concourse overlook on Level 3.
Elena Torok is the Assistant Objects Conservator at the DMA.
It may or may not surprise you to hear that one in five adults in the United States self-identifies as having a disability. At the DMA, we believe that limitations reside not in individuals, but in systematic barriers to participation, and that accessibility is a shared responsibility across the Museum. Collaboration between departments helps the DMA remove barriers to participation and continually broaden our definition of access.
One of the ways we approach accessibility is through individualized experiences for specific needs. But we also learned from visitors that they’d like the means to explore the Museum and its collection through unstructured, anytime activities and resources.
This month we are pleased to unveil the result of the most recent collaboration between our Education and Design departments: large-print booklets in the Center for Creative Connections Gallery.
When designing for the low-vision community, the proper treatment and application of design elements can significantly enhance readability. Simply enlarging standard-print documents does not result in effective large-print material. The font selection, size, and line spacing are just a few components that must be carefully selected and treated.
Sans serif geometric fonts such as Helvetica, Futura, and Gotham Rounded are ideal for large-print documents. Limiting the number of characters per line, creating a high visual color contrast between the background and text, and aligning to the left are further design decisions that help the low-vision community easily consume printed information.
While visitors with vision impairment were at the forefront of our mind during the design process, these design elements can help remove barriers for visitors with dyslexia and those who are English language learners as well.
We are excited to add these large-print booklets to our repertoire of accessible materials for visitors. Some of our previous projects include visual descriptions and sensory activities at the Pop-Up Art Spot. Creating opportunities and programs for visitors with vision impairments has long been an important facet of the DMA’s program offerings with Art Beyond Sight Awareness month in October and our summer touch tour for DISD students with visual impairments.
While many exciting accessibility projects are underway at the Museum, there is still much work to be done. As we evaluate and test the new large-print label format, we will seek to expand the booklets to other exhibition galleries in the future. We hope the introduction of the large-print label booklets will be a next step in exploring what we can do to better serve our audiences and expand accessibility throughout the Museum.
Emily Wiskera is the Manager of Access Programs and Jaclyn Le is the Exhibitions Graphic Designer at the DMA.
Just in time for summer, the Center for Creative Connections welcomed new works into the gallery. Communication will be the continued theme of the space, but recent additions from the DMA’s collection will bring focus to how clothing, objects, and accessories can communicate a significant narrative about ways subjects can be portrayed.
Works from our contemporary collection exemplify how objects and clothing can be used to conceal a direct identity. Karel Funk’s hyper-realistic Untitled #21 explores a portrait that was based off people he would see during cramped commutes on a New York City subway. Funk would often notice unique social codes that allow passengers to closely scrutinize each other’s appearances. The lack of identity shown here challenges us to consider how this subject’s persona could quickly change with each visitor’s interpretation.
To the left of Untitled #21 is one of Félix González-Torres’s most prolific works, Untitled (Perfect Lovers). Two clocks are typically not what come to mind when we think of portraiture, but González-Torres was able to poignantly capture the love between he and his partner, Ross Laycock, who struggled with AIDS until his death in 1991. The piece consists of two store-bought clocks, hung side-by-side and synced to begin at the same time. Over time, the clocks naturally fall out of sync, representing the mourning of a loved one who gradually slips away from you.
We made sure to broaden the works to encompass a more global perspective from across the collection. This helps visitors understand that for centuries art and objects from across cultures have been used to convey a ceremonial practice, style of dress, or social status. A double-breasted gown (called a jama) and jewelry made of pearls and precious gems, seen in two small watercolor works on paper from the Mughal dynasty in India in the 17th century, draw attention to the figures’ wealth and social status as nobles in the community.
Unknown artist, “Portrait of a Noblewoman,” 1675-1700, opaque watercolor on paper, Intended bequest of David T. Owsley, 7.2007.20
Unknown artist, “Portrait of a Nobleman Holding a Pink Rose,” 17th century, opaque watercolor on paper, Intended bequest of David T. Owsley, 7.2007.25
One of my personal favorite additions to the gallery are cases encompassing two personal objects belonging to DMA staff members. We had an open call to DMA staff to submit a wearable item that expressed something unique about them. Brian MacElhose, Collections Database Analyst, retired his worn-down skate shoes to express his passion for skateboarding. Carrie Schimpff, Executive Assistant to the Director of Development, chose her stunning horse-riding jacket, which was handcrafted and designed by her mother to symbolize the countless hours they spent (from ages 7 to 18) bonding while driving cross country to horse shows. Next to these cases, we are inviting visitors to draw and describe their own personal clothing and accessories that convey something important about them to display among the works.
Visitors viewing Carrie Schimpff’s horse riding jacket in the C3 gallery
Visitors can leave their own reflections on how personal objects convey something meaningful about them.
Be sure to venture through the Center for Creative Connections on your next visit to view these works and discover how you can see art in a new way.
Kerry Butcher is the Center for Creative Connections Education Coordinator at the DMA.
Throughout the summer, the Quadrant Galleries on Level 1 will feature two exhibitions drawn from the Contemporary art collection: Soft Focus and Body Ego. Four of the artists included in these installations call the DFW area home, and each Saturday in July at 3:00 p.m. one of the artists will give a free talk about the work she has on view. Last week Denton-based artist Annette Lawrence joined us to speak about her fascinating Free Paper series and how she uses drawing, collecting, and data to create objects that measure the passage of time.
This week, we’ll hear from photographer Debora Hunter, followed by artists Linda Ridgway and Frances Bagley later this month. Before they arrive, we had some burning questions for these artists about their lives and their work. Here’s what they had to say:
Debora Hunter
Hunter is a Dallas-based photographer and Professor Emerita of Art at Southern Methodist University. In 2016 she was the honoree of the Dallas Art Fair. Aside from the DMA’s collection, Hunter’s work is included in the permanent collections of the Art Institute of Chicago, High Museum of Art, Corcoran Museum of Art, Museum of Fine Arts, Houston, Amon Carter Museum of American Art, Yale University Art Museum, University of New Mexico Museum, Wesleyan University Art Museum, Rhode Island School of Design Art Museum, Creative Photography Laboratory of Massachusetts Institute of Technology, Louisiana Art and Science Center, and Dallas Area Rapid Transit.
Learn more about Hunter’s photograph Floral Spine in the online collection.
If you could take one work of art from the DMA home, what would it be? What fun to sleep in the Gothic revival bedstead from Rosedown Plantation.
Bed, Crawford Riddell (maker), 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., 2000.324
What was the first subject you loved to photograph? The backs of people gazing out to sea.
If you could have coffee with a photographer from the past, who would it be? Julia Margaret Cameron (1815-1879)—since she is English she would probably want tea.
What do you love most about teaching? Retiring! (only joking). Actually, working with young people as they discover their interests and talents.
Any advice for young artists out there? Listen carefully to your inner voice and then work really hard.
What is something you are looking forward to? “Emerita,” a retrospective exhibition of forty years of my work at SMU’s Pollock Gallery opening September 7, 2018.
Film or digital? Yes!
Last book you read? Cake, a very fun cookbook of cake recipes with stories and illustrations by Maira Kalman.
If you hadn’t become an artist, what career would you have chosen? Film editor or architect.
Where do you feel inspired around Dallas? The weird Valley View Mall and the Santa Fe Trestle Trail, for different reasons.
Linda Ridgway
Ridgway is a Dallas-based printmaker and sculptor working primarily in bronze. Her work has been the subject of solo exhibitions around the country, most recently at Talley Dunn Gallery in Dallas, as well as group exhibitions at the Grace Museum and the Amon Carter Museum of American Art this year. Aside from the DMA’s collection, Ridgway’s work is in the permanent collections of the El Paso Museum of Art, Modern Art Museum of Fort Worth, Museum of Fine Arts, Houston, Phillips Collection, Weisman Collection, and AMOA Arthouse.
Linda Ridgway, Harvest Line, 1995, bronze, Dallas Museum of Art, gift of Nona and Richard Barrett and Mr. and Mrs. Bryant M. Hanley, Jr., 1996.190
Learn more about Ridgway’s sculpture Harvest Line in the online collection.
If you could take one work of art from the DMA home, what would it be? If I could take only one piece, it would be Beginning of the World by Constantin Brancusi.
What is your favorite bit of nature around Dallas? My favorite bit of nature is White Rock Lake.
What is your favorite poem? Uses of Sorrow by Mary Oliver is my favorite poem at the moment.
Any advice for young artists out there? There is a lot of advice you can give to a young artist, but the most valuable lesson is hard work and to never give up.
What is something you are looking forward to? Having a bigger studio space to create more work.
What was the last thing you looked up on Wikipedia? I don’t use Wikipedia, but I do use my smartphone to look up things. Recently, I looked up images by John Singer Sargent, because of a book I am now reading.
How long have you been drawing? I started drawing as a child, but at the age of 13 I made the decision to become an artist.
Do you listen to music while you are working? I listen to the classical station.
If you hadn’t become an artist, what career would you have chosen? A biologist.
What are some words that you live by? Everything will be okay.
Frances Bagley
Bagley is a Dallas-based sculptor and installation artist. Among numerous public art projects, and both Texas and national exhibitions, her work is included in the permanent collections of American Airlines, the National Museum of Women in the Arts, the El Paso Museum of Art, Pepsi-Co, UT Arlington, and Southwestern Bell. Bagley is the recipient of multiple awards, including the Moss Chumley Award in 2011, the 10th Kajima Sculpture Exhibition in Tokyo in 2008, and the Jurors Award for the Texas Biennial in 2007.
What was the last thing you looked up on Wikipedia? Billy Bob Thornton’s background.
What are some words that you live by? “Tell the Truth.”
Any advice for young artists out there? Becoming an artist is not a career choice. You should only do it if you have to and won’t be happy with any other choice.
What is something you are looking forward to? Going to Maine this summer for Barry Whistler’s birthday party.
Favorite place you have traveled? Tunisia.
Last book you read? Buddha Mind in Contemporary Art, edited by Jacquelynn Baas and Mary Jane Jacob.
If you hadn’t become an artist, what career would you have chosen? See my answer to question #4. No other choice would have made me happy.
What is a daily ritual that you have? Discussing the world with Tom Orr while having coffee every morning.
What material are you interested in working with next? Oil paint.
What questions do you have for the artists? Drop by each Saturday to spend time with them in the galleries and learn about their creative process firsthand.
Jessie Carrillo is Manager of Adult Programs at the Dallas Museum of Art.
We’re excited to have selections from the Guerrilla Girls’ Portfolio Compleaton view through September 9, 2018, in the Rachofsky Quadrant Gallery. But you might be wondering “who are the Guerrilla Girls” . . .
The Guerrilla Girls are feminist activist artists. Over 55 people have been members over the years, some for weeks, some for decades. Our anonymity keeps the focus on the issues, and away from who we might be. We wear gorilla masks in public and use facts, humor, and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We have done over 100 street projects, posters, and stickers all over the world. . . . We also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls. . . . We could be anyone. We are everywhere. (guerrillagirls.com)
The Portfolio Compleat is a new acquisition to the DMA’s collection. The works span more than two decades, but many of them are now as relevant as ever. Since they started, the Guerrilla Girls have been prolific, accumulating a large catalogue over time. We chose to display the works as you see them below, so that visitors can read a large number of the posters and see the wide reach of their artistic complaints.
The videos in this space point to issues like the lack of non-male, non-white representation within specific institutions. As a large, encyclopedic museum, the DMA could be listed among the museums under critique. In recent years, our curators have sought to be more inclusive in the works we show and collect. Currently on view are many works and multiple exhibitions by women artists. But, of course, this is an ongoing conversation with a long road ahead.
In the central seating area, we have provided books created by the Guerrilla Girls that are reminiscent of zines. Zines are self-published magazines or artist books associated with niche subcultures that are usually produced via photocopier and distributed for low to no cost. They gained popularity in the US in the 1990s as an artistic expression, but the format has long existed as a method of political dissent.
Many of the Guerrilla Girls’ works and books are available for purchase on the group’s website. They try to make them accessible to typical museum visitors rather than art collectors. This allows their viewers, and anyone who is so inclined, to become an art collector instead of perpetuating a system where the same one percent decide the direction of the art world. According to the group’s website, “Everything you buy supports our efforts to expose discrimination and corruption!”
Zines, posters, and Guerrilla-style videos are something that anyone can create for a relatively low cost. The Guerrilla Girls’ message is all about breaking down barriers to art to show that it can be cheap to create, easy to disseminate, and indiscriminate in whose message is important. This is also why they use the style of street advertising and employ humor and pop culture to get their message across.
The Guerrilla Girls are now internationally relevant and more active than ever. We are pleased to present this portfolio to the public and encourage its message of thoughtful and critical viewership.
Skye Malish-Olson is an Exhibition Designer at the DMA.
The Princess Bride is one of my favorite movies. It has everything a classic fairy tale should—sword fights, castles, intrigue, large rodents, pirates, even (*gasp*) kissing!
Therefore, my excitement knows no bounds as our Second Thursday with a Twist this week is themed As You Wish—a fun night exploring themes between our collection and The Princess Bride.
You’ll be able to watch a fencing demonstration, take a scavenger hunt through the Museum, and listen to actors dramatically read passages from the book.
To prepare you for an inconceivable night, I wanted to share some works of art from our collection that remind me of characters or scenes from the movie:
The Dread Pirate Roberts is swoon-worthy and mysterious—as is Le Captaine.
Debbie Fleming Caffery, Le Captaine, Louisiana, 1995, gelatin silver print, Dallas Museum of Art, gift of DMA Friends of Photography, 1998.127
The Dread Pirate Roberts first appears at the Cliffs of Insanity, and I always imagine that this painting could have inspired them.
Thomas Cole, The Fountain of Vaucluse, 1841, oil on canvas, Dallas Museum of Art, gift of J. E. R. Chilton, 1992.14
Atop the Cliffs of Insanity, the most epic fencing scene takes place, and every time I walk by this painting I think of Inigo Montoya and automatically say “You killed my father, prepare to die!”
Michael Sweerts, Portrait of a Gentleman, possibly a Member of the Deutz Family, 1648–49, oil on canvas, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.25
For those who love Fezzik, Untitled (big/small figure) features our resident giant.
One of Fezzik’s memorable lines is “Anybody want a peanut?” So try not to start a rhyming game when you see this gold weight in the Power of Goldexhibition.
Goldweight, Asante peoples, possibly, mid-20th century, brass and copper alloys, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg, 2000.229.86.FA
The battle of wits between Westley and Vizzini brings us another classic scene: “Are you the sort of man who would put the poison into his own goblet or his enemy’s?”
Goblet (one of a pair), George B. Sharp for Bailey & Co., c. 1864, silver, Dallas Museum of Art, gift of Jo Kurth Jagoda in memory of Constance Owsley Garrett, 1989.20.2
There are three things to fear in the Fire Swamp, and whenever I see this painting I think if I went just beyond the trees I might step on a fire spurt, fall into some quicksand, or encounter an R.O.U.S.
Narcisse–Virgile Diaz de la Peña, Forest of Fontainebleau, 1868, oil on canvas, Dallas Museum of Art, Munger Fund, 1991.14.M
Speaking of R.O.U.S.es—while this rat is not an unusual size, it clearly has no problem attacking a human and eating his nose!
Large jar: figure with rat eating the nose, Moche culture, 400–600 CE, ceramic, slip, and paint, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison, 1976.W.116
Killer rodents aside, if you are a fan of TRU WUV be sure to join us on Thursday night!
Stacey Lizotte is the DMA League Director of Adult Programs at the DMA.
Happy Independence Day! Many of you likely have exciting activities on your agenda today, like proudly parading through the streets, chowing down on some backyard BBQ, watching the night sky illuminate with sparkling bursts of color, or all of the above. For those of you in need of some balance between raucous outdoor festivities and quieter, more subdued plans, today is a great time to visit the DMA and stroll through the American art in our collection. The Museum is open today from 11:00 a.m. until 5:00 p.m.
To celebrate the array of differing landscapes and perspectives that make up the United States, here are a few works from American artists that illustrate various scenes and slices of life in our country.
Coreen Mary Spellman, “Old Muscatine on the Mississippi,” 1942, intaglio, Dallas Museum of Art, gift of Helen, Mick and Thomas Spellman, 1994.124
Omar Raymond Carrington, “Village Barn Towers,” date unknown, watercolor, Dallas Museum of Art, George T. Lee Purchase Prize, Southern States Art League Exhibition, 1945, 1945.25
Zoltan Sepeshy, “The Whole Town,” 1947, egg tempera on Masonite, Dallas Museum of Art, Dallas Art Association Purchase, 1950.92
Big cities:
James Swann, “Night in Chicago,” 1940, drypoint, Dallas Museum of Art, gift of the Friends of Art, Former Dallas Artists, 1943.6
George Taylor Plowman, “In San Francisco,” 1905-06, mezzotint, Dallas Museum of Art, gift of Mrs. A. E. Zonne, 1942.37.1
Paul Cornoyer, “Afternoon in Madison Square,” 1910, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1914.1
Towering mountainscapes:
Bill Bomar, “Red Mountains,” 1952, oil on canvas, Dallas Museum of Art, E. M. Dealey Purchase Prize, State Fair of Texas Art Exhibition, 1952.42
Bertha M. Landers, “Cheyenne Mountains,” 1941, lithograph, Dallas Museum of Art, Elizabeth Crocker Memorial Prize, Twelfth Annual Dallas Allied Arts Exhibition, 1941, 1941.6
Seaside scenes:
Alfred Thompson Bricher, “Seascape,” c. 1885-90, oil on canvas, Dallas Museum of Art, bequest of Margaret M. Ferris, 1990.151
Maurice Brazil Prendergast, “Beach Scene,” c. 1907-10, oil on panel, Dallas Museum of Art, gift of Mrs. Wilson Schoellkopf, 1962.23
John Frederick Kensett, “Newport, Rhode Island (Beacon Rock),” 1982, oil on canvas, Dallas Museum of Art, gift of Mrs. Eugene McDermott, 1994.6
Harry Carnohan, “West Texas Landscape,” 1934, oil on Masonite, Dallas Museum of Art, Neiman-Marcus Company Purchase Prize, Seventh Annual Dallas Allied Arts Exhibition, 1935, 1935.2
Lush green views:
Edward Burgess Butler, “O’er Hill and Dale,” 1920, oil on canvas, Dallas Museum of Art, gift of Mr. A. M. Matson, 1921.4
George Inness, “Summer Foliage,” 1883, oil on canvas, Dallas Museum of Art, bequest of Joel T. Howard, 1951.9
Everyday people:
Amelia Urbach, “The Letter,” 1939, oil on Masonite, Dallas Museum of Art, Kiest Fund Prize, Tenth Annual Dallas Allied Art Exhibition, 1939, 1939.3
Olin Herman Travis, “Head,” c. 1930, lithographic crayon, Dallas Museum of Art, gift of Margaret Scruggs Carruth, 1930.8
Florence Volk, “Subway News Stand,” date unknown, aquatint, Dallas Museum of Art, Dallas Print Society Fund, 1948.29
John Butler, “Man in Corncrib,” c. 1933-34, color lithograph, Dallas Museum of Art, gift of the Public Works of Art Project, 1935.17
Erwin E. Smith, “Frank Smith, Watering His Horse, Cross-B Ranch, Crosby County, Texas,” c. 1909, gelatin dry plate negative, Dallas Museum of Art, Dallas Art Association Purchase, 1959.35.7
Isaac Soyer, “Art Beauty Shoppe,” 1934, oil on canvas, Dallas Museum of Art, gift of the Public Works of Art Project, 1935.7
And all the critters in between:
John James Audubon, “Canis Lupus (Black America Wolf),” 1848, hand-colored lithograph, Dallas Museum of Art, Dallas Art Association Purchase, 1949.59
John Breckinridge Martin, “Possum,” 1910, pastels, Dallas Museum of Art, gift of Mrs. Arthur Kramer, Sr., 1950.95
John James Audubon, “Spermophilus Douglassii (Two Douglas Squirrels),” 1844, hand-colored lithograph, Dallas Museum of Art, Dallas Art Association Purchase, 1949.62
Red, orange, blue, and green, how many colors can you see? It won’t be too hard to find every color of the rainbow in the newly updated Young Learners Gallery! This much-loved spot in the Museum is a favorite with the 5–8 year old crowd, and we’re excited to unveil a fresh, colorful space for our younger visitors.
For the past two years, this interactive space has focused on exploring the concept of LINE. Now we’re all about COLOR. Just like line, color is a building block of the visual arts and one of the first elements of art that young children notice.
In the revamped gallery, you can explore the ways colors play off one another by creating colorful structures with blocks . . .
Make patterns with our “unplugged” version of a Lite Brite . . .
Design a wacky picture using window clings on the mirror . . .
Read a book or two about color . . .
And learn a little color theory while you play!
We’ve planned for dynamic changes throughout the year, so every few months a new activity will debut in the space. Coming soon—a matching game to test your nose and imagine what smell a color could have, and a light table where you can mix colors the same way artists do.
We hope you’ll drop by for a spin!
Leah Hanson is the Director of Family, Youth, and School Programs at the DMA.
“Laura Owens is an amazing artist; prior to my venture I hadn’t heard of her. But now, I am a fan.” –@_.mickelodeon._
“Her work is LOUD, quirky, silly, dimensional, full of layers!” –@in_dfwfamily
“Exhibición de Laura Owens está llena de color y amor” –@edithvm
“This painting really cat-ures my spirit.” –@kmeansbusinezz
