Staff Spotlight: Gail Davitt

Tomorrow will be an emotional day for Education Staff at the DMA. Our Chair of Learning Initiatives and Director of Education, Gail Davitt, is retiring after twenty-six years of service to the Museum. Throughout her tenure serving in a variety of staff roles, her main focus has never changed: creating connections between art and people. We sat down for a discussion about her amazing work with us and her plans for the future.

What originally brought you to the DMA?

In 1986, as a PhD student in Arts and Humanities at the University of Texas at Dallas, I participated in several independent study courses, some of which involved working with curatorial and exhibitions staff at the DMA.  Part of my coursework included a proposal for an exhibition titled “The Real Self,” focusing on contemporary artists like Cindy Sherman and Jonathan Borofsky. As part of another course, I had also interviewed Anne Bromberg, then Director of Education, who opened my eyes to the possibility of a museum education career—something I had never known existed. Although my exhibition never came to fruition, that fall I applied and was selected for a graduate education internship with Anne. The following year, in the summer of 1987, I was hired in a full time position, working initially with teachers and docents.

Gail Davitt in the American Galleries during her internship in 1986

How has your time at the DMA shaped who you are as an art educator?

Before I came to the DMA I knew very little about the type of education that can occur in museums. I had taught English and studied Art History, but didn’t feel that traditional teaching was my calling. Once I began my position with the Museum, I gained many colleagues and mentors who encouraged me to spend time with art museum education colleagues in New York and Minneapolis. Soon after, I became involved with the National Art Education Association and have been active ever since.

In addition to these colleagues, I was also given the opportunity to work with colleagues involved in evaluation and visitor studies, like Beverly Serrell and Randi Korn. Through this work, I have learned the value of setting goals and outcomes and the importance of measurement to informal learning.

There have also been times when I was on my own, able to try out and experiment with new ideas, something that has proven valuable as well. The opportunity to learn and share with colleagues and then apply what I have learned at the DMA has truly provided me with a rich environment for my own understanding of art museum education, which I hope has allowed me to encourage meaningful visitor experiences with art.

What will you miss most about the DMA?

I truly will miss all the people. I have formed such close relationships with fellow staff that it will be difficult to no longer see everyone on a daily basis.

The other big thing I will miss is hard to put into words. What I love about my job is the chance to constantly dig in deep with a project, to really research and wrestle and grapple to figure out the solutions and create something meaningful. There is always an opportunity for this sort of problem-solving process at the Museum, and I will miss being involved with those opportunities. Now my challenge will be trying to find them in other areas of my life.

Gail with DMA curators Sue Canterbury, Heather MacDonald, Roslyn Walker and Kevin Tucker.

What are you most looking forward to come June 2 and beyond?

One main thing I am looking forward to is Sunday evenings without a knot in my stomach—that sort of anxiety that comes when you know you haven’t accomplished the work you were hoping to get a head start on over the weekend.

I am also really looking forward to devoting more time to my family and friends. While I have loved my job, it has taken so much attention that my other relationships have at times come second. I also love to cook and am looking forward to nurturing my relationships through food by cooking for friends. Travel is also high on my list and now I will be able to spend more time really researching the places I’d like to visit. Currently, I am planning for a long trip to Brussels.

What is one fun fact that people don’t know about you?

I played intramural volleyball in college and was pretty good. It also provided a convenient way for me to travel from Bucknell to Penn State to visit my then boyfriend (now husband), Jim.

Gail and Jim at a dinner celebrating the DMA’s centennial in 2003.

Gail has been an inspiration to all of us in the Education Division. We will greatly miss seeing her each day, but look forward to finding new ways to continue our work with her in the future.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Youth and Beauty Artist Personality Quiz

Have you ever wondered if there was any artist who shared your likes and interests? Well, we’ve got a swell way for you to find out: take the Youth and Beauty Artist Personality Quiz! During Late Night this Friday, April 20, stop by the Artist Personality Quiz table in the Concourse, where you’ll find our nifty nod to some of the artists featured in Youth and Beauty: Art of the American Twenties.

To whet your whistle, try this question on for size:

When I am vacationing, you can find me:

a. Soaking in the sun on a beach on the French Riviera.

b. Reveling in the desert landscape of Santa Fe.

c. Renting a lighthouse on Cape Cod and walking along the coast.

d. Getting caught up in the hustle and bustle of New York City.

e. Globetrotting from Bermuda to Berlin.

f. Road-tripping across America’s heartland.

Which letter did you pick?  Be sure to get dolled up in your flapper finest for Late Night this Friday and take the full quiz to discover which Twenties artist you are most like. Then, venture into the galleries for our Artist Personality Quiz Artist Talks, where you can hear more about your artist next to his or her work of art.

The whole evening will definitely be the bee’s knees!

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Flat Stanley: In the Galleries

You might have noticed a small, somewhat thin, two dimensional visitor at the DMA recently. Flat Stanley has been all across our galleries, looking at and learning about many different artworks in our collection. Feel free to bring him along on your next tour!

Flat Stanley with the DMA’s Banquete chair with pandas.

Flat Stanley with the DMA’s Bed.

Flat Stanley with the DMA’s Red-figure krater.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Artworks visited by Flat Stanley:

  • Banquete chair with pandas, Fernando Campana and Humberto Campana, 2006, stuffed animals on steel base, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, 2009.9
  • Bed, 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, 2000.324
  • Red-figure krater, Metope Group, c. 340-330 B.C., ceramic, pigment; Dallas Museum of Art, the Melba Davis Whatley Fund and Cecil and Ida Green Acquisition Fund, 1996.147

Help Wanted: Looking for a Few Good Interns

With all the amazing experiences you can have at the DMA, what could be better than learning about our work firsthand? Each September, DMA staff welcome a new class of McDermott Interns through the McDermott Internship Program. And thanks to the generous support of the Eugene McDermott Education Fund, we are even able to provide our fabulous interns with a stipend.

Although I may be a bit biased (I was a McDermott Intern last year), McDermott Interns truly are a vital part of the DMA. We couldn’t survive without them! Throughout their short nine-month stint at the Museum, they contribute to various projects, from exhibitions to tours to programming and beyond. We even make sure our interns get to experience other arts organizations around the Metroplex. It’s a smorgasbord of museum opportunities!

Two of the lucky interns from this year’s class are our very own Hannah and Jessica, who have blogged about some of there experiences with you here. I asked them a couple questions to get their perspective on being a McDermott Intern:

What has been your favorite part of the McDermott Internship so far?

Hannah: Definitely teaching. I love going into classrooms and interacting with the students; their energy, enthusiasm and curiosity is contagious. They are constantly reminding me why I am so passionate about art and teaching. I also really enjoy going to docent training lectures and discussions, because it gives me the opportunity to keep learning.

Hannah (center right) with local teachers during the Art and Fashion Teacher Workshop.

Jessica: My favorite part of being a McDermott Intern is being able to work with some of the friendliest and most dedicated people I have ever met. I have also really enjoyed learning about the DMA’s collection and fantastic exhibitions, and then passing on that exciting knowledge when giving tours.  It is so rewarding to know that you made someone’s trip to the Museum memorable!

In your opinion, what is one reason why someone should apply to be a McDermott Intern?

Hannah: One thing that is really unique about being a McDermott intern is that you get the chance to work really closely with one department, while also getting opportunities to collaborate and interact with the entire staff of the Museum. With guidance and support, you have many responsibilities within the department you are working for, and your days are filled with diverse tasks, activities and programs. No two days are the same!

Jessica: One word: EXPERIENCE! The staff at the DMA will ensure that you are given every opportunity to learn about the inner workings of so many different departments within the Museum. The DMA really values McDermott Interns as professional coworkers, not just as extra help. It is that kind of attitude that really makes being a McDermott Intern a wonderfully fulfilling experience.

If you or someone you know is interested in exploring a museum career, check out our Museum Internships page, which includes more information and a link to the 2012-2013 McDermott Internship application form. We look forward to your submissions!

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Winter Break: Where the Treetops Glisten

May your days be merry and bright and may all your Christmases be white!

Courtyard in the DMA offices covered in snow

Fleischner Courtyard covered in snow

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Friday Photos: Jumping in Fort Worth Museums

Last Friday, our McDermott Interns took their annual trip to Fort Worth to get acquainted with our neighboring art institutions and explore all the wonderful exhibitions they currently have on view. We enjoyed John Marin at the Carter, Caravaggio at the Kimbell, and said hello to the DMA’s own Diebenkorn at The Modern. It was an exhausting artful day!

Inspired by our previous post and Jumping in Art Museums, we decided to do a little jumping of our own in Fort Worth. Enjoy!

In front of the Amon Carter Museum of American Art

In front of the Kimbell Art Museum

In front of the Modern Art Museum of Fort Worth

Sarah Coffey
Assistant to the Chair of Learning Initiatives

To Corset or Not to Corset

With The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk set to open this weekend, fashion is definitely in the air at the DMA. One of the major influences you’ll find in the exhibition and in Gaultier’s work overall is the corset.  From Marie Antoinette to Madonna, for better or worse, corsets have continued to remain a big part of the female fashion arsenal. However, there is one lady in the DMA’s collection who seems to disagree with me: Sarah Sherburne Langdon.

Sarah Sherburne Langdon, John Singleton Copley, 1767. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

In this portrait, painted in 1767, Sarah wears a loose-fitting gown without the requisite corset beneath. At that time in London, a new style was becoming all the rage partly because, just a few years before, the letters of Lady Mary Wortley Montagu were first published. Lady Montagu wrote to friends in England during her travels to Turkey after her husband had been appointed ambassador in 1716. In her letters, Lady Montagu described the odd oriental customs of the Turks, including their different styles of clothing. Upon her death, copies of the letters were widely circulated in England and the Colonies, and a craze for all things Turkish ensued.

Lady Mary Wortley Montagu. Letters Of the Right Honourable Lady M-y W-y M-e: Written, during her Travels in Europe, Asia and Africa, To Persons of Distinction, Men of Letters, &c. in different Parts of Europe. Berlin: Sold by August Mylius, 1781. UCLA Charles E. Young Library Department of Special Collections.

So what makes Sarah’s gown Turkish, you ask? The gold embroidery trim and long, white, billowing sleeves evoked the look. But of course, her lack of corset is key. Turkish women could not imagine wearing a corset and were quite confounded by the contraption, as Lady Montagu describes. During her first visit to a local bath, the women kept encouraging her to remove her clothes. In one letter she writes, “I was at last forced to open my shirt and show them my [corset] stays, which satisfied them very well—for they believed I was so locked up in that machine, that it was not in my own power to open it, which contrivance they attributed to my husband.”

Emil Larsson, Body corset worn by Madonna, Blond Ambition World Tour, 1990. Dazed & Confused, April 2008. c. Emil Larsson

In the centuries since Lady Montagu’s letters and Sarah Sherburne Langdon’s portrait, corsets have been similarly vilified as a symbol of female oppression and embraced as a symbol of sexual empowerment. If you’d like to hear more of the corset’s story, join us on Thursday for the exhibition lecture Jean Paul Gaultier: Iconoclasm and Influence. Dr. Caroline Weber will trace the influence of the corset and other elements in Gaultier’s designs. If only Mrs. Langdon could be here to see where fashion has taken us now.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

The Art of Astronomy

Nicolaus Copernicus was a cleric, a physician, a mathematician—a real renaissance man. Literally. But the true passion that drove him was astronomy. Throughout his life, he took every opportunity to observe the sky and the stars, making meticulous calculations of their positions at a time before the telescope had even been invented. With this detailed data, Copernicus formulated a new theory placing the sun at the center of the universe—an idea that helped to ignite the Scientific Revolution.

Like Copernicus, the Maya were astronomically-minded. Without the benefit of telescopes and other modern advances, they built monumental structures at sites like Chichén Itzá in perfect alignment with the sun during important days of equinox and solstice. Their calendars were also based on the movements of the sun and moon. Their myths and rituals share this cosmological focus, which permeated their entire culture. Even their artworks reflect their celestial mindset.

Eccentric flint depicting a crocodile canoe with passengers, Mexico or Guatemala, southern Maya lowlands, Maya, c. A.D. 600-900, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Mrs. Alex Spence.

This flint, shaped like a crocodile canoe carrying its passengers in profile, captures a scene from the Maya creation story. The Maya believed the soul of the First Father was paddled in just such a canoe to the underworld, after which he was reborn as the Maize God, the ancestor of all humans. Contemporary archaeologists have dated this event to August 13, 3114 B.C., based on the Maya calendar. This event was reflected in the heavens each year on August 13, when the Milky Way could be seen floating across the sky from east to west until midnight, when it shifted downward, north to south, plunging into the underworld.

Lidded tetrapod bowl with paddler and peccaries, Mexico or Guatemala, southern Maya lowlands, Maya, c. A.D. 250-550, The Roberta Coke Camp Fund.

Atop this lidded bowl sits the Maya sun god, Kinich Ahau, also in a canoe. As he paddles through the underworld each night, his path takes him through the constellations, one of which is represented by the pig-like mammals incised into the bowl’s legs.

Next Monday, October 24, Arts & Letters Live will welcome author Dava Sobel, whose new book A More Perfect Heaven recounts the revolutionary life and work of Nicolaus Copernicus. Had he been around to observe the skies of ancient America with the Maya, I think they might have found some common ground.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Friday Photos: Art in October

Next month, the Dallas Arts District is celebrating Art in October for the third year in a row. Stop by the Museum all month long for a plethora of unique artful activities for all ages (and species).

Oxen and cart, Turkey: northern Syria, 2000–1800 B.C., Irvin L. and Meryl P. Levy Endowment Fund.

Saturday, October 1st kicks off with Art in Motion, a public parade of decorated bikes and vehicles. Leave your oxen at home, only human-powered vehicles qualify for this procession!

Kids making Sightless Studio Creations in October 2010.

The month of October is also Art Beyond Sight Awareness month.  Celebrate visual awareness with Sightless Studio Creations on October 1st.

Dog with human mask, Mexico, state of Colima, c. 100 B.C.-A.D. 250, Dallas Museum of Art, gift of Mr. and Mrs. Eugene McDermott and the Eugene McDermott Foundation and Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Inc.

End the month with your canine companion during the Closing Celebration Sunday, October 30th.  Come in costume (pooches too!) and create art with your four-legged friend for Doggies in the District.

We hope you’ll stop by in October and discover fresh ways to connect with art!

Sarah Coffey
Assistant to the Chair of Learning Initiatives


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