Archive Page 9



Hoffman Galleries Reinstalled

Charlie Wylie, the Lupe Murchison Curator of Contemporary Art, recently completed his reinstallation of the Hoffman galleries on the first floor of the museum. The installation addresses narrative in contemporary art, specifically the “continuing ability of art in whatever form to express narratives of what it can feel like to be alive in the present moment,” as the wall text states. The reinstallation features such artists as Peter Doig and Marlene Dumas, both notable for their recent inclusion at TWO x TWO for AIDS and Art, the annual charity auction held at The Rachofsky House benefiting amfAR (The Foundation for AIDS Research) and the Dallas Museum of Art.

In addition to these painters and work by many other artists, the galleries currently contain installations by Tatsuo Miyajima and Erick Swenson, mixed media work by Vernon Fisher, and photographs by Matthew Barney and Gregory Crewdson. Both Barney and Crewdson also have work in All the World’s a Stage, another special exhibition on view at the DMA. Barney’s photographs (and other mixed media works) reference a series of five films of enormous scope called The Cremaster Cycle, quite specifically referencing narrative. Crewdson’s art, on the other hand, centers around the idea of open or false narratives but evokes similar feelings of theatricality. Crewdson himself says, “And what I’m very, very interested in is a moment that hovers between before and after, a moment that is unresolved, that remains a question…”

Untitled (House in the Road)

To achieve this suspended moment, clear in both Untitled (brief encounter) and Untitled (House in the Road), Crewdson literally constructs his scenes, utilizing stage crews and props to form the subject matter which he then photographs. Tension plays a large part in his artwork, both literally for the artist through his chaotic process of realizing these staged spectacles as well as for the viewer stepping into enormously detailed scenes with no frame of reference beyond the image itself.

If you’d like to get a closer look at Gregory Crewdson’s artwork, in addition to the other works on view at the DMA and The Rachofsky House, sign up for our two-part January Teacher Workshop on Contemporary Art!

Logan Acton
McDermott Intern in Teaching Programs

Artist Spotlight: Yinka Shonibare MBE

One of the Dallas Museum of Art’s most recent and exciting exhibitions, Performance/Art, centers around contemporary works of art. Along with paintings and installations, the exhibition includes two films, one by Eija-Liisa Ahtila and the other by Yinka Shonibare. Shonibare’s film, Un ballo in maschera (A Masked Ball), is based on an opera by the same name by Giuseppe Verdi and is a visual spectacle that will attract and intrigue visitors.

Shonibare, Un ballo in maschera

Un ballo in maschera, Yinka Shonibare MBE

While the story underlying Shonibare’s film is interesting (the assassination of King Gustav III of Sweden), so too is the real life of the artist. Shonibare was born in London in 1962 but raised in Nigeria. This duality of experience and identity is explored in much of his work, which extends beyond film and includes sculpture, painting, photography, and installation. As apparent in the brilliant costumes in Un ballo in maschera, Shonibare frequently works with dyed fabrics which complicate issues of history, colonialism, and our global economy.

Shonibare’s art delves into complex ideas, often layered with multiple points of view, and he emphasizes the aesthetic experience in the process. Some works, such as Lady on Unicycle and Hopscotch, both large-scale installations, include mannequins dressed in Dutch wax-printed cotton. Others, like Dorian Gray, are two-dimensional and include less flamboyant imagery, in this case neutral-colored prints.

Since being awarded the MBE (Member of the Order of the British Empire) in 2005, Shonibare has taken the honorary title as part of everyday usage of his name. This small action hints at what much of his artwork overtly discusses, specifically the ambiguous and contradictory relationship he has with his nationality and identity. More information about Yinka Shonibare and his artwork can be found online at Art:21.

If you would like to experience Un ballo in maschera as well the other works in Performance/Art and All the World’s a Stage, come to our Teacher Workshop this Saturday, November 7, where we will be going through the exhibitions and talking about performance. To sign up, e-mail teacherprograms@DallasMuseumofArt.org or select the Teacher Programs link on our ticketing Web site  to register online.

Logan Acton
McDermott Teaching Programs Intern


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