Artworks Aplenty

This week the DMA’s beloved Late Night program turns sixteen! In celebration of each year the program has been around, let’s take a look at artworks that were added to the permanent collection during those years—they are also currently on display, so be sure to keep a lookout for them when you’re here for Late Night!

2004

Olowe of Ise, Kneeling female figure with bowl (olumeye), Nigeria, c. 1910-c. 1938, wood, pigment, and paint, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2004.16.McD

2005

Sugar bowl, Lebolt & Co., Chicago, Illinois, c. 1915, silver, Dallas Museum of Art, gift of Marguerite and Robert K. Hoffman in honor of Nancy Hamon, 2005.51.5.a-b

2006

Buddha Sakyamuni, Thailand, 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 Bromberg Family Wendover Fund, 2006.21

2007

Mark Handforth, Dallas Snake, 2007, steel, aluminum, and glass lamp head, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund and Lay Family Acquisition Fund, 2007.39

2008

Window with Sea Anemone (“Summer”), Louis Comfort Tiffany (designer), Tiffany Glass and Decorating Company (manufacturer), New York, New York, c. 1885-95, glass, lead, iron, and wooden frame (original), Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2008.21.1.McD

2009

Box, John Nicholas Otar (designer), c. 1933, copper and brass, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2009.7.a-b

2010

Nandi, India, c. 13th century, granite, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund and gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, 2010.6

2011

François-Auguste Biard, Seasickness on an English Corvette, 1857, oil on canvas, Dallas Museum of Art, gift of J. E. R. Chilton, 2011.27

2012

Marriage necklace, India, Tamil Nadu, late 19th century, gold, Dallas Museum of Art, gift of David T. Owsley honoring Dr. Anne Bromberg via the Alvin and Lucy Owsley Foundation and the Cecil and Ida Green Acquisition Fund, 2012.46

2013

Guillaume Lethière, Erminia and the Shepherds, 1795, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2013.1.FA

2014

Antoine-Augustin Préault, Silence, c. 1842, patinated plaster, Dallas Museum of Art, The Mr. and Mrs. George A. Shutt Fund and General Acquisitions Fund, 2014.10

2015

Bust of Herakles, Roman, Lambert Sigisbert Adam (restorer), 1st century-2nd century CE, marble, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, and Bromberg Family Wendover Fund, 2015.31

2016

Tomb plaque marker on a tortoise base, China, c. 219-c. 316 CE, limestone, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund, 2016.33.a-b

2017

Jonas Wood, Untitled (Big Yellow One), 2010, oil on linen, Dallas Museum of Art, gift of Vernon and Amy Faulconer, 2017.45.2, © Jonas Wood

2018

Pair of six-panel folding screens depicting “The Tale of Genji,” Japan, Kano School, 16th-17th century, ink and color on paper, Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, Bromberg Family Wendover Fund, and the Cecil and Ida Green Acquisition Fund, 2018.21.1-2

Valerie Chang is the McDermott Intern for Adult Programming at the DMA.

Sweet Sixteen!

This month, Late Nights at the DMA is turning 16! Where has the time gone?

It all started with one question: how should the DMA, first formed in 1903 as the Dallas Art Association, celebrate its 100th birthday?

The answer was to stay open for 100 continuous hours in January of 2003. We offered a variety of programs, and we saw people in the Museum at all hours of the day and night. Throughout the rest of 2003, we experimented with a few different evening programs, and this led to Late Nights at the DMA as you know it!

Late Nights launched in January 2004, and as we start our sixteenth year of the program, I thought this would be a good time to reflect back and give you another round of Late Nights by the Numbers.

Over 15 years:
165 Late Nights
1,176 musicians have performed
14 parades went down the Concourse
167 art historians and artists gave a talk or tour
50 artists performed art demonstrations
72 Creativity Challenges were fought
462 tours were offered
221 films were screened
121 bedtime stories were read by Arturo
662,499 visitors stayed up late with us
59 exhibitions were celebrated
and 49,550 staff hours were worked to bring you Late Nights each month!

Stacey Lizotte is the DMA League Director of Adult Programs at the DMA.

Re-creating a Roman Feast

On Tuesday, December 11, archaeologist and food writer Farrell Monaco will be here for a talk and feast exploring ancient Roman cuisine. Monaco is the author of a celebrated food blog, Tavola Mediterranea, in which she explores recipes from across the Mediterranean and even re-creates recipes from the archaeological record.

In what has become a tradition for the Adult Programs team whenever we have a program about food, we tried our hand at making a few of the recipes featured in Tavola Mediterranea. You can find our other cooking attempts here, here, here, and here.

Katie Cooke, Manager of Adult Programs
When scrolling through the blog, the Libum caught my eye. I think because of a distant memory about the sweet bread that the Romans ate, from my days learning Latin. I also thought that the idea of an ancient cheesecake drizzled with honey couldn’t be that bad, even with my amateur baking skills.

The ingredients list could not have been easier to assemble. The base for the bread was only three things: eggs, flour, and ricotta. I had Great British Bake Off in the background, so I was reminded to let it proof and not knead it into a stiff mass.

While the dough was resting, I arranged the bay leaves on the bottom of the pans so that the bread would sit on them and soak up all the delicious, savory flavor.

I split the dough between two pans as the recipe says, and it’s a good thing Farrell specified that, because the baking time is already an hour—I would’ve been up very late if all that dough was baked in one loaf! The fun part was decorating the tops with pine nuts.

The finished product was very nicely browned loaves of dense cake/bread. I drizzled them with honey and then used some for dipping. I would recommend keeping a lot of honey on the side when eating this. I thought that the bay leaves were going to give it a little more flavor, but overall the taste of the bread is very neutral.

What I learned: If I were part of an ancient civilization, I would have worshiped honey because it makes even the simplest of breads sugary and delectable.

Jessie Carrillo, Manager of Adult Programs
From the moment I saw Vatia’s Fig-Stuffed Pastry Piglets, I knew I had to make them. While not directly drawn from an ancient source, this dish is not too far off from something that the Romans would have eaten, and the combination of ingredients sounded tasty.

I started by making a dough from whole wheat flour, olive oil, and water. While the dough rested in the fridge, I sliced two portions of pork tenderloin, pounded them with a meat mallet until they were very thin, and seasoned them.

Next I combined dried figs with salt, pepper, and honey in a food processor, spread the mixture on the pork pieces, and then rolled them up like a couple of Ho Hos®. I rolled out my dough until it was about the thickness of a pie crust and cut pieces large enough to wrap around the pork, as well as some smaller pieces that I fashioned into my piglets’ ears, noses, and tails.

After wrapping each piece of pork in pastry and decorating the piglets, I followed the author’s advice and threw them into the oven without naming them. After about 30 minutes at 400 degrees, the piglets came out sadly missing their tails, but otherwise adorable and surprisingly yummy!

What I learned: Meat wrapped in pastry dough has always been delicious, and cooking is even more fun when you combine it with sculpture.

Stacey Lizotte, DMA League Director of Adult Programs
I decided to make Apicius’ Tiropatina (Tiropatinam), which is an egg custard, because it only had three ingredients (six if you count the garnishes), and because I was curious about what flavor and texture you would get in a custard from just eggs, milk, and honey (instead of sugar).

You would think three ingredients would make this a simple recipe, but it was VERY time consuming—literally a two-day process (so if patience is not a virtue of yours, I wouldn’t recommend this recipe).

Once the three ingredients were combined, there was a lot of custard mixture—A LOT. There was no way the mixture I had would only make 18 small custards like the recipe said. If you want to make that amount, I would recommend at least halving this recipe. The one step I added is that I strained my custard mixture before putting it in the tins. I do this for any custard or curd that I make, and I feel that it’s important in order to get a smooth texture.

I didn’t have a pudding tin and my muffin pans were too large to put in a water bath, so I decided to use my mini cheesecake pan. I didn’t take into account how watery this mixture is compared to a cake batter so, as you can see, during the baking process a few of my custards seeped out of the pan.

I often find egg custards too “eggy” for my taste, but these custards actually had a light flavor that I found appealing. I attribute that to the honey. I also enjoyed the black pepper on top—clearly those Romans knew what they were doing.

What I learned: A water bath is essential for baking custards. Since I had so much extra batter, I decided to make a batch of custards in a muffin tin but without a water bath and the result was  horrible.

If you would like to learn more about Roman cooking and enjoy a Roman Feast, you can purchase your tickets for the event here.

Time Travel at the DMA

This week we had a special visitor who traversed through time and space in advance of our November 8 Second Thursdays with a Twist all about Doctor Who. For his tour through the Museum, he said he would like to see some people and places that he’s traveled through time to visit. We were happy to oblige, mostly because we didn’t want him to use his sonic screwdriver on us. As he was walking through the Museum, he also found a few artworks featuring people and places he had not encountered and he wanted to learn more about those too.

The Doctor hadn’t yet met George Washington, so he was eager to see his portrait:

No trip to the DMA is complete without a stop at Frederic Edwin Church’s The Icebergs:

A future iteration of the Doctor met Vincent van Gogh, so naturally we had to show him Sheaves of Wheat:

And here are a few of the other stops he made in our galleries:

When you visit the DMA on November 8 for our next Second Thursdays with a Twist, you, too, can go back in time to see Winston Churchill, the Aztecs, and many other important historical characters through our scavenger hunt and warp drive tours that’ll have you exploring all that timey wimey stuff!

Katie Cooke is the Manager of Adult Programs at the DMA.

Make & Take: Architectural Artistry

We have a new way to get creative at the DMA! Make & Take is a new art-making series that takes place on one Thursday every month. Drop by on October 25 and stay for as long as you want, whether it’s a few minutes or an hour, and you’ll leave with a new skill plus your own creation. Our first Make & Take was on Thursday, September 27. As the weather cooled down, participants enjoyed their time outside on our Sculpture Terrace near the Conservation Gallery, overlooking part of the downtown skyline. Local artist and architecture teacher Jay Cantrell led participants in exercises that helped give shape to the cluster of buildings in front of them. One exercise involved outlining the skyline that showed the different structures using only one line. Another was focusing on architectural details of the buildings, like windows and arches, so you don’t get overwhelmed by tackling the entire building. You can see a few examples below.

View from Sculpture Terrace

Architectural drawing made by Jay Cantrell

Outline of skyline done by participant

Small detail of building done by participant

If you didn’t get a chance to come out and sketch with us, don’t worry! Make & Take will happen once a month (except December) and explore a new art technique every time. On the 25th, we’ll be working with vibrant pastels to make abstract images inspired by the pastels on view in Günther Förg: A Fragile Beauty. On November 29, explore monotype printmaking, where you’ll make subtractive images in ink and then print using a press, like the monotypes featured in Ida O’Keeffe: Escaping Georgia’s Shadow.

Katie Cooke is Manager of Adult Programs at the DMA.

School of Art

Next week the DMA will host its first College Night! We are excited to open our doors on Wednesday, October 24, for this exclusive evening just for college students.

Since students will be taking a break from their busy fall semesters to join us (and hopefully all the midterms are over), we wanted this night to be a mix of fun and informative activities.

We’ll serve complimentary snacks and drinks, and there will be art activities, music spun by DJ Derek Lynn, and a chance to talk with DMA staff to learn more about various museum careers. Students can also see our new exhibition Cult of the Machine: Precisionism and American Art for free, and they can grab a sweet treat while learning more about our McDermott Internship Program.

For this night only, in honor of all those hours spent toiling away in their classes, we created a new self-guide called In a Class of Your Own, highlighting 14 school subjects and one work of art that best illustrates it. Here are a few that will be featured:

Archaeology

Idol, folded-arm form, Greece, Cycladic, c. 2700–2100 BCE, marble, Dallas Museum of Art, Foundation for the Arts Collection, The Mr. and Mrs. Stanley Marcus Collection of Fertility Figures, 1982.292.FA

Environmental Science

Frederic Edwin Church, The Icebergs, 1861, oil on canvas, Dallas Museum of Art, gift of Norma and Lamar Hunt, 1979.28

US History

William Tylee Ranney, Veterans of 1776 Returning from the War, 1848, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, Special Contributors and General Acquisitions Fund, 1981.40

Music

Drum, Côte d’Ivoire, Senufo peoples, 20th century, wood and hide, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. Stanley Marcus, 1981.139.FA

Interior Design

“Marshmallow” sofa, George Nelson Associates (designer), Irving Harper (designer), Herman Miller, Inc. (manufacturer), designed c. 1954–55, steel, aluminum, paint, foam, and wool, Dallas Museum of Art, 20th-Century Design Fund, 1995.41

Women’s Studies

Altar depicting the first female ancestor (luli), Indonesia, Southeast Moluccas, 19th century, wood and shell, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1999.181.McD

Stacey Lizotte is the DMA League Director of Adult Programs at the DMA.

Basis of Bourbon

As the weather becomes cooler (well, sort of), we’re looking forward to warming up inside the Museum with our third installment of Artful Pairings this Thursday—an exclusive night of drink tastings and Museum tours for adults. This event will feature a tour of our new exhibition Cult of the Machine: Precisionism and American Art, and what better drink to go with quintessentially American art than bourbon? We’ll hear from the folks at Crooked Fox Bourbon about their product, and mix our own cocktails with bourbon as the star, paired with small bites from our cafe.

To get you in the mood for some barrel-aged goodness, here are some fun facts about bourbon and a few works from our collection that pair nicely with them.

Rembrandt Peale, George Washington, c. 1850, oil on canvas, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.41

Did you know that George Washington played a role in how bourbon came to be? In 1789 frontier farmers violently rebelled against their new American government for trying to tax their whiskey, which they used for currency and trade (not just for drinking). As George Washington led an army out west to end this rebellion, some of the disgruntled distillers fled further west to Kentucky, where they thought they would be able to operate under less restrictive conditions. These settlers ended up distilling corn-based alcohol, which gave us the modern day drink we know and love.

To pair with this fact, we have the portrait of George Washington by Rembrandt Peale. Peale widely advertised this portrait with pamphlets including quotes from family members and friends of the president to show this was the most accurate portrayal. His advertising campaign worked, because nearly 80 versions of this portrait exist, including one hanging above the dais in the US Senate Chamber.

Richard Long, Stones of Scotland, 1979, gelatin silver print, Dallas Museum of Art, gift of Nancy M. O’Boyle, 1997.154

Although many people could argue the differences between American bourbon and Irish whiskey, they are much closer in production process than you might realize. Bourbon barrels can only be used once for storing the liquor before bottling. Once those barrels have had one batch in them, some become furniture or firewood. Others are repurposed for aging either soy sauce or—most often—Scotch whiskeys made across the pond. Much like the rules and regulations keeping bourbon from being made outside the US, Scotch whiskey can only be made in Scotland. The landscape and natural materials of Scotland inspired the land artist Richard Long to create his space-specific artworks.

Cup: upside-down head, Peru, Sicán (Lambayeque), 900-1100 CE, gold, 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.543

When Irish immigrants settled in Kentucky, they discovered they could make corn into a sweet-tasting liquor. Even though the Irish Americans believed they had come across a new form of alcohol, many cultures in Central and South America had been making corn-based alcohol for centuries. The golden cup above is from the Sicán peoples, who lived around the Andes in Peru until around the 12th century. The vessel would have been used to drink chicha, a corn-based beer that is still made today in many areas of South America during special ceremonies.

We hope this whets your appetite to learn more about this American-made spirit. We still have a few spots open for Artful Pairings, so get your tickets here for the program on Thursday, October 4, at 7:00 p.m.

Katie Cooke is Manager of Adult Programs at the DMA.

Material Girls (and a Guy)

To make browsing through our online collection easier, there are filters to see smaller samples so you aren’t wading through thousands of artworks. For instance, you can search through culture of origin or look at the period in which an artwork was made—maybe you enjoy 18th-century French, or you want to go back to B.C.E. But one place where you might not normally look is our section labeled “Medium,” which lets you know how each artwork was made and what it is made from. While there are plenty of works made with oil paint, bronze, and marble, there are also those made of neon, bone, and soda cans.

What better time to showcase the interesting materials in our collection than the same week we celebrate the original “Material Girl” herself, Madonna. Second Thursdays with a Twist on September 13 is all about Madonna’s style, music, and the decade she helped shape: the 1980s. Until then, you can learn more about the materials in our collection that, like Madonna herself, are anything but ordinary!

Henri de Toulouse-Lautrec, Prostitutes, c. 1893–95, pastel on emery board, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.75

There are unique materials scattered among all the cultures that make up our collection. As you look at the different materials, some might stick out as interesting or odd, but for the artist making that piece it would not have been such a strange choice. This is the case in the pastel work by Henri de Toulouse-Lautrec in which he used emery board, or emery cloth, as the base. This has similar qualities to sandpaper—slightly rough and coarse compared to traditional canvas. Using a delicate medium like pastel on something that will rip apart the creamy texture was a technique he learned from studying 18th-century pastellistes. Lautrec used the technique to create the beautiful, modeled shadows on the woman’s back with the heavier application of pastel. Although today we might think of emery board as an interesting material, at the time the work was created it would have been somewhat traditional for the pastel medium.

Meg Webster, Untitled (Turmeric), date unknown, jade adhesive on arches paper, Dallas Museum of Art, gift of Caroline and Michael Van Valkenburgh, 2017.47.3, © Meg Webster

Contemporary artist Meg Webster was influenced by the Land art movement in the 1970s and studied under Michael Heizer. This influence led her to work primarily in sculpture using natural elements like plants. Webster’s untitled work in our collection is not a sculpture but one of her works on paper. These works share the same focus on the earth and connection to nature with her use of materials such as soil, ash, beeswax, and spices. Untitled uses turmeric to create a textured, dyed element on the paper. She uses natural materials in this series, but on a more intimate scale compared to her room-sized works with living plants. Using natural elements to dye or paint isn’t new, but using turmeric in its raw form shows Webster’s ability to create art without changing the natural form of the materials she uses, while also giving the piece a multisensory effect through smell and the visually distinct color.

Deborah Butterfield, Horse #6-82 – Steel, 1982, sheet aluminum, wire, and tar, Dallas Museum of Art, Foundation for the Arts Collection, Edward S. Marcus Fund, 1982.96.FA, © 1982 Deborah Butterfield, Bozeman, Montana

Artist Deborah Butterfield has been making organic sculptures of horses almost her entire career. She has experimented with many different materials to make the animals to scale. In her early career, she used mostly wood and organic materials. The horse in our collection is made from steel, sheet aluminum, wire, and tar during the period in which Butterfield used mainly found metals to make the horse’s form. Even though the materials are rough, she contrasts them by creating smooth, precise forms, making the inorganic look organic. Butterfield is still working today, and now combines the materials from earlier in her career. She finds wood to create the shape of the horse, and then casts the pieces in bronze and reassembles it, Combining the two mediums to make one sculpture.

Katie Cooke is Manager of Adult Programs at the DMA.

Join the Club! A Moveable Feast Series Preview

Today is National Read a Book Day! Have you been wanting to join a book club or wishing someone would curate a list of “must reads” for you? This month the DMA’s acclaimed literary series, Arts & Letters Live, kicks off a new initiative intended to build community through conversation, offering you another opportunity to take a deeper dive into books featured in the series. A Moveable Feast Book Club will feature four books over the next three months, allowing you to select any (or all) you would like to attend. We hope that by reading and sharing insights together a week or so before hearing the author speak, your experience will be richer and even more meaningful. Book Club events will take place in the DMA’s Founders Room, where participants can enjoy lunch while engaging in conversation with fellow bibliophiles.

The series kicks off on September 13 with Dr. Jaina Sanga, author and fellow of the Dallas Institute of Humanities and Culture, leading a conversation about Texas Literary Hall of Fame author Sarah Bird’s tenth novel. Daughter of a Daughter of a Queen is a historical novel depicting the story of slave-turned-soldier Cathy Williams, who disguised herself as a man and fought in the Civil War with the legendary Buffalo Soldiers.

Photo credit: Sarah Wilson

On October 9, Dr. Jaina Sanga will lead a discussion of MacArthur “Genius” grant winner Jesmyn Ward’s Sing, Unburied, Sing,a road novel through Mississippi’s past and present that explores the bonds of a family tested by racism and poverty. Ward became the first woman and the first person of color to win two National Book Awards for Fiction, joining the ranks of William Faulkner, Saul Bellow, John Cheever, Philip Roth, and John Updike.

Photo credit: Beowulf Sheehan

Debut novelist Fatima Farheen Mirza’s A Place for Us will be the topic of discussion on October 23, again led by Dr. Jaina Sanga. The first novel from Sarah Jessica Parker’s new imprint, SJP for Hogarth, A Place for Us is a deeply moving and resonant story of love, identity, and belonging, and a powerful portrait of what it means to be a Muslim American family today. Reviewers have described it as “absolutely gorgeous” and “stunning.” 

Photo credit: Gregg Richards

The final gathering, on November 20, will feature a discussion of Jill Lepore’s These Truths: A History of the United States, moderated by Dr. Andrew R. Graybill, professor and chair in the department of history at Southern Methodist University, and co-director of the William P. Clements Center for Southwest Studies. History buffs will have an opportunity to dissect award-winning historian and New Yorker writer Jill Lepore’s magisterial account of the origins and rise of a divided nation, and the beauty and tragedy of American history.

Photo credit: Dari Pillsbury

Michelle Witcher is the Program Manager for Arts & Letters Live at the DMA.

The Secret Lives of Color

In her newest book, The Secret Lives of Color, author Kassia St. Clair reveals the hidden histories of 75 colors that shaped everything from art and fashion to medicine, politics, commerce, and religion.

This Friday at 7:00 p.m., the author will join us for a Late Night talk about her book, where she will discuss what inspired it, how she conducted her research, and a few favorite hues—from the ultra-pricey ultramarine to the morbid mummy brown. Here’s a sneak peek.

What inspired you to write The Secret Lives of Color

Several things honestly. It definitely helped that my mother was a florist, so growing up I was always seeing colors being put together creatively and was encouraged to do likewise. Academically, I became interested in color when I studied at university. I wrote my dissertations on 18th-century fashion, which involved a lot of research into the shades that were fashionable at the time: it fascinated me that they had changed so much. Some of the combinations they loved back then would make your eyes water today! I also loved researching the names or trying to figure out what a once-fashionable tone might have looked like, since often only written descriptions would survive.

How did you decide which colors made the cut? Is there one that you would have liked to include but didn’t?

When I pitched the book, I had a whole list of shades, dyes, and pigments that would go into each chapter, and although many of those did make it into the final book, many others did not and many more were added. The trick was to get exactly the right combination of story and variety. It would have been boring to have five yellows one after the other that all dated from a similar period and were used in near-identical ways. This is something that you very quickly discover when writing but which might not be obvious in the planning stage! There are certainly colors that it would have been wonderful to include full entries for, and many of these I was able to put into the glossary at the back.

In your opinion, what is the most underrated color and why?

I think black is a hugely underrated color. For a start it’s an absolutely vast category: we’re used to giving lots of different names to various whites—cream, ivory, beige, canvas, and so on—but with black it all gets collapsed in together, with very little regard for how different two shades might be from one another. I loved discovering in the course of writing this chapter that there were once two words for black: one for the glossy, luxurious kinds and another for the matte, light-sucking variety. And then again, black is often thought of as scary, unimaginative, or negative, when in fact shade and darkness can be restful, soothing, and cool.

Did the research for this book take you down any unexpected rabbit holes?

Yes, many! (See my answer above for just one example). But that’s why I love studying and writing about color; it’s never boring and you can’t help but be dragged in myriad directions. I also love how people initially think it’s a shallow, niche topic, but then the moment they start discussing it they soon realize just how vast and deep it truly is. Everyone has an opinion or a story or a fact that they want to share; it’s inclusive and I love hearing from people about the colors I’ve missed or anecdotes about festivals, customs, songs, and fashions that I might not know about.

What was one section you really enjoyed writing and why?

I love a challenge, so writing the introduction, although I always find it the hardest bit, is probably also the most rewarding. The introduction has to set the tone. It also has to cover a lot of ground and make sure everyone is carried along. Yes, you might be explaining some tricky physics (I speak as someone who gave up the sciences relatively early to concentrate on the arts), but that is no excuse for not making sure both that you understand it and that you’re making it interesting and palatable for your reader. When you’re writing, it’s my belief that you should treat your reader like an honored guest: it’s not good manners to bore on about something you enjoy but they might not. I try to be as inclusive and entertaining as possible.

If you had a signature color of nail polish what would you name it?

Because I’m going through a green phase and because it’s currently incredibly hot and parched in London so that everything is turning brown and crisp, maybe a really refreshing, cooling green-blue—something that’s a little mid-century but has just a hint of sheen: “Verdant Lagoon.”

Join us this Friday for Late Nights at the Dallas Museum of Art to hear more from Kassia St. Clair.

Jessie Carrillo is Manager of Adult Programs at the DMA.


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