Archive Page 4



The Two Käthes

Join us for Late Night this Friday when we will host artist Käthe Kollwitz of the feminist activist art collective the Guerrilla Girls as part of a celebration of women artists featured in Visions of America. For more than thirty years, women artists from across the country have donned gorilla masks and joined the ranks of the Guerrilla Girls to produce public art campaigns that raise awareness about gender and ethnic discrimination in the art world and beyond. Having decided early on that the members of the Guerrilla Girls would remain anonymous, they took this opportunity to shine some limelight on great women artists of the past by assuming the names of pioneers like Käthe Kollwitz, Frida Kahlo, and Zubeida Agha.

Guerrilla Girls at the Abrons Art Center, 2015

In an interview for the Smithsonian Institution’s Archives of American Art Oral History Program, Käthe explained the origin of their pseudonyms.

“Eventually we realized that we needed individual names within the Guerrilla Girls.  When we went places in a group or in pairs, we needed to be individuals in some way.  So this idea came up to have dead women artists as pseudonyms, and it was a useful idea because art historians were re-finding and representing the work of a lot of women artists from history.  Most of the pseudonyms that people took were artists they’d never heard of before they started and only discovered when they read up on women artists, looking for a name.”

Käthe’s own namesake, Käthe Kollwitz (1867–1945), was a German printmaker and sculptor who also addressed social injustice in her work. She also happens to be well represented in the DMA’s collection

Kollwitz’s work is at times touching and heart-wrenching with intimate portraits of mothers with their children as well as genre scenes depicting the plight of the urban poor. Her subjects are often gaunt figures whose shadowy eyes and pained poses speak volumes about the dire circumstances under which they lived. Having endured multiple personal tragedies and both world wars, she was an artist who did not shy away from showing the realities of war, poverty, and loss.

Käthe Kollwitz, Revolt (Sturm), 1897, Etching, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg, 2000.192.FA

Remarking on how she arrived at the pseudonym Käthe Kollwitz, the artist said, “It’s very personal for everybody.  Käthe Kollwitz is not my all-time favorite artist, but she’s a great role model.  She was an activist as well as an artist.  She didn’t believe in the expensive, fancy art system.  She did a lot of cheap prints that she gave and sold very cheaply.  She did a lot of work about working people, about women and children, even work about sex.  She was a fierce woman artist.”

Over 70 years after Kollwitz’s death the Guerrilla Girls are continuing the practice of using art to raise awareness. Reflecting on their own 30 year legacy, Käthe will speak about favorite projects and how the group has approached activism in their work. For more information about this and other Late Night programs, visit DMA.org.

Jessie Frazier is Manager of Adult Programming at the DMA

Second Thursdays with a Twist

Does your typical Thursday night have the dance moves of Michael Jackson, a “potions” class for adults, a tour about beautiful backsides, live covers of the best 80s music, and storm troopers? Would you like it to? If your answer is yes, then you’re going to love our new line-up for Second Thursdays with a Twist!

All year round, every Second Thursday of the month, we are looking at our collection with a pop culture twist. If this program sounds familiar, it’s because this program is The Artist Formerly Known as Off the Wall. We thought we would change up the name, but keep the same day, same time and same fun! We are kicking off the new name and new season of themes this Thursday with Don’t You Forget About Me. The night will have all the 1980’s nostalgia you can handle, a photo booth, a Ferris Bueller themed tour and more.

We hope you all will come out and enjoy Second Thursdays with a Twist, we had so much fun coming up with ideas for these themes and we hope that you will have even more fun experiencing them!

August 10: Don’t You Forget About Me

Geoff Winningham, High School Prom, negative 1973, print 1976, Dallas Museum of Art, gift of Prestonwood National Bank, 1981.36.11

September 14: Smooth Criminal

Ralph Gibson, Untitled, 1972, gelatin silver print, Dallas Museum of Art, Polaroid Foundation grant, 1977.79

October 12: Mischief Managed

Owl effigy, Arts of the Americas, 20th century, ceramic, slip, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Jerry Bywaters, 1963.179

November 9: Who Run the World?

Anna Hyatt Huntington, Joan of Arc, modeled, 1910; cast c. 1915, bronze, Dallas Museum of Art, Kiest Memorial Fund, 1924.3

December 14: In a Galaxy Far, Far Away

Dan Flavin, alternate diagonals of March 2, 1964 (to Don Judd), March 2, 1964, daylight and cool white fluorescent tubing, Dallas Museum of Art, gift of Janie C. Lee, 1976.74.A-G

January 11: Ice Ice Baby

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

Katie Cooke is Manager of Adult Programming at the DMA

 

 

 

Once Upon a Time in Mexico

Tomorrow night, July 13, we are celebrating Mexico of the past and present with our Second Thursday program, Off the Wall to kick off our closing weekend of Mexico: 1900-1950. Since this exhibition is all about telling the stories of Mexico and the artists who documented its history and people, we thought Once Upon a Time in Mexico would be the perfect way to encapsulate the evening. We have so much going on all evening, tours, music, crafts, and more and each activity connects back and tells a story about an artwork in the exhibition.

Murals are such a large portion (literally) that connects the exhibition together, so we wanted to highlight murals as an art form. All night you will be able to watch as the artist collective Sour Grapes create a mural inspired by the exhibition on Eagle Family Plaza. Sour Grapes has been around since 2005 and you can’t drive around Dallas without seeing their work on walls and buildings. Even though we have a few murals to choose from, this one was a visitor favorite and with its bold colors and the scale of the work, you can see why.

Diego Rivera, Juchitán River (Río Juchitán), 1953–1955, oil on canvas on wood, Museo Nacional de Arte, INBA, Mexico City Assigned to the Instituto Nacional de Bellas Artes through the Sistema de Administración y Enajenación de Bienes of the Secretaría de Hacienda y Crédito Público, 2015 © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New

Artists like, Gunther Gerzso, Leonora Carrington, and Alice Rahon, all featured in the exhibition, were important players in the Surrealist movement in Mexico. This movement encouraged artists to unlock their subconscious and use their imagination to create a new world on the canvas.  Spend a few minutes with friends putting yourself into the minds of the Surrealists with the game, Exquisite Corpse. In the game, a piece of paper is folded into sections and passed around; the challenge is that each artist must work on one particular segment without having seen the others. The results are sometimes crazy and monstrous but always hilarious.

Gunther Gerzso, The Days of Gabino Barreda Street, 1944, oil on canvas, Lent by private collection

On the Before Mexico, was Mexico tours, we have Dr. Kimberly Jones the DMA’s Assistant Curator of the Arts of the Americas speaking on our Pre-Columbian collection in English and Spanish. Pre-Columbian art was an enormous influence on many of the artists represented in the exhibition. Just one example is the mural by Saturnino Herrán entitled Our Gods, which shows a group of Aztec people during a ritual to the god, Coatlicue.

To finish up your night, don’t miss Mariachi de Oro performing the upbeat music of Western Mexico. Mariachi has been around since at least the 18th century and is a large part of Mexico’s cultural history. Around the 1920’s when the piece below was painted, Mariachi music was being broadcast on the radio for the first time, and instruments like the trumpet were being infused into the arrangements because of the growing popularity of jazz and Cuban music.

Don’t miss out on a fun filled evening celebrating the closing weekend of Mexico: 1900-1950. We are going to miss this exhibition once it is gone next Monday, but thankfully, we have a few pieces that are staying with us! These images below among others will still be in the DMA’s collection and can be enjoyed many times to come after Mexico is over.

Don’t forget to join us tomorrow from 5:00-9:00 p.m. for July Off the Wall: Once Upon a Time in Mexico. The cost is $5 for the public and free for DMA Members. An additional $10 ticket is required to see the exhibitions that evening.

Katie Cooke is Manager of Adult Programming at the DMA

It was a Dark and Stormy Night

Last Friday, with storms lending the appropriate atmosphere, over 650 super sleuths helped us solve the unfortunate murder of Marcus Aurelius during our annual Museum Murder Mystery Game.

With their great detective work, we found out that it was Mademoiselle d’Orleans with the candelabrum of nine lights in the Ancient Art of the Americas galleries.

We documented the night’s events to make sure there was no cry of foul play:

Stacey Lizotte is Head of Adult Programming and Multimedia Services

Frida Kahlo: Fashion as the Art of Being

At Late Night this Friday journalist and author Susana Martínez Vidal will speak about her beautiful new book, Frida Kahlo: Fashion as the Art of Being, which looks at the iconic and carefully curated style of Frida Kahlo and the artist’s lasting influence in the worlds of fashion and art. Before her visit, I asked the author to share a few insights about this project.

Frida Kahlo Cover 3D crop

What inspired you to write a book about Frida Kahlo?

During the almost 18 years that I headed EllE Spain and attended international fashion shows, I saw Frida walk by on innumerable occasions, interpreted in diverse ways by the greatest designers in the world: Jean Paul Gaultier, Givenchy, Valentino, Karl Lagerfeld, Lacroix, Kenzo, all have paid homage to her.  Countless times I witnessed her influence in music, film, and in the best international fashion magazines.  The most famous actresses, models, and singers have evoked her: Monica Belluci, Naomi Cambell, Linda Evangelista, Kate Moss, Claudia Schiffer, Beyoncé, Madonna, Patti Smith, Cold Play.

In 1993 Frida Kahlo inspired the first fashion shoot I published as the director of EllE.  Through the eye of Canadian photographer Michel Pérez, actress and model Patricia Velásquez, the exotic beauty for “The Mummy” saga (who along with Frida shares indigenous heritage), was transformed in an Aztec princess. Years later, I was impacted by the spring collection of the great Jean Paul Gaultier, the first of the major designers to evoke her.

It powerfully attracted my attention that a woman who was half indigenous and was not from a first world country nor from show business (she wasn’t an actress, singer, or dancer) had gatecrashed into ranking among the most iconic women of the 20th century, next to Marilyn Monroe, Jackie Kennedy or Maria Callas.

In 2012, shortly after relocating to live in Mexico, the Huffington Post asked me to write a blog about the exposition of Frida Kahlo’s clothing that had recently opened.  Seeing this fantastic showcase in the Casa Azul Museum, I started to remember all the images of Frida from the runways and decided that the subject deserved to be explored more profoundly.  At the end of the article I expressed my desire that one day a book would speak to the influence of Frida Kahlo on fashion.  It was a challenge I gave myself to dare myself to take the step.  For months the article was one of the most read on Huffington Post, and this convinced me that Frida lived even though she had died more that half a century prior.   Frida Kahlo: Fashion As the Art of Being is the realization of that dream.

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In your opinion, what is the biggest lesson Frida taught us about fashion, art, or life?

Her determination to transform pain into beauty, while being an imperfect beauty, motivated her to build an image that she cared for and cultivated in order to elevate her self-esteem. She used fashion like therapy, emphasizing her defects to develop her own hallmark image and identity. The more pain she was in, the greater she made herself up. At the end of her life she dressed as if going to a party.

Her fans applaud her paintings because they admire her story, and therefore you cannot separate her life from her work. Like Stephen W. Hawking, she is someone who knew how to transform her limitations into opportunities. In both situations, their disabilities have transformed in aids that encourage them to focus on there abilities. Certainly, she was her finest work of art.

Frida in Gallery 01

Do you see the fashion world’s appropriation of her style as honoring her, exoticizing her–both?

Perhaps both: Fashion has resurrected Mrs. Kahlo, to give her the glory she didn´t have during her life.

Since the beginning, the idea of the book has been to show the influence of Frida Kahlo in contemporary fashion and pop culture and why she continues to appear so modern in the 21st century.

My objective has been to unravel fashion’s constant obsession with Frida Kahlo, despite being a field which by definition is always in constant motion, and decipher why it is that her style continues to provoke an irrepressible appeal the world over.

Frida in Gallery 02

Join Susana Martínez Vidal this Friday for talks in both English and Spanish and pick up a copy of Frida Kahlo: Fashion as the Art of Being, available for purchase in the DMA store.

And let Frida inspire your own fashion – come dressed like Frida Kahlo on May 19 and your Late Night ticket will be $5.

Jessie Frazier is Manager of Adult Programming at the Dallas Museum of Art.

The DMA Test Kitchen

This Friday, author, artist, and editor Natalie Eve Garrett will be here to discuss The Artists’ and Writers’ Cookbook which features intimate, funny, and heartbreaking stories paired with recipes from some of the most brilliant creative minds of our time.

And, in what has become a tradition for the Adult Programming team, we decided to try our hand at making a few of the recipes featured in the book. You can find our other cooking attempts here, here, and here.

Madeleine Fitzgerald, Audience Relations Coordinator for Programming:

I couldn’t resist choosing Alice Hoffman’s Grandmother’s Recipe for Life (also known as potato soup) for a couple of reasons. First of all, my mother’s potato soup has literal healing powers. Anytime one of my family members or friends had surgery, my mother and I would make the Famous Magical Potato Soup and by morning you would miraculously feel better. I knew going into this that nothing would beat my own mother’s recipe, not even Alice Hoffman’s grandmother’s recipe. There’s no way this soup could be more magical than my mother’s. Even if it’s from the writer of Practical Magic.

This recipe called for very few ingredients, and three of them were garlic, onion, and leeks. Nothing compliments potatoes better than onions and garlic! Also, any recipe that calls for wine is a friend of mine.

First you chop the trifecta of the onion family. It’s important to spend a sold 5 minutes admiring and photographing the geometric shape and bright green color of the leeks.

In a heavy saucepan, melt an entire stick of butter, the onion, lots of garlic, and leeks and cook until soft and starting to caramelize.

While you stir for about 10-15 minutes, open the wine early and pour yourself a glass (especially in a cute DMA wine glass!).

Then chop up the potatoes and toss them in as well. The recipe said to sauté for 7 minutes, but I wanted them to get some brown crispy spots on them before adding in the liquid (caramelization equals flavor!), so I actually let them cook for about 20 minutes before adding chicken stock, wine, salt, and lots of pepper. I poured a second glass of wine here.

The recipe does not tell you how long to cook the soup once you add the liquid. The last step is literally “Hope for the best.” I cooked it for about 20 more minutes until potatoes were cooked through and the starches in the potatoes naturally thickened the soup.

I garnished with some homegrown chives and more pepper (and maybe another splash or two of wine). I liked the soup just fine, but it needed more than just potatoes and onions.

Things I Learned: Next time I’ll add a lot more veggies: corn, peas, carrots, and even chicken or bacon. This soup was very creamy, even without any actual milk, cream, or cheese, which my mom uses heavily in her recipe. And this is why, for me, my mom’s recipe will always be better than Alice Hoffman’s grandmother’s.

 

Stacey Lizotte, Head of Adult Programming and Multimedia Services:

I decided to make the Kentucky Pizza because I am always on the lookout for a new pizza crust recipe and I was curious what zucchini and squash would add, texture-wise, to a pizza.

When I have made pizza dough before, the recipes usually call for you to let the dough rest for two hours, giving the yeast time to do its job. This recipe calls for a 24 hour resting period. So I made the dough on a Saturday in preparation for a Sunday pizza dinner.

This recipe also mentioned using a pizza stone – and while I normally make my pizzas on a sheet pan I thought I would treat myself to a pizza stone and a pizza sheet (used to transfer your pizza to and from the hot stone).

After preparing all my ingredients – shredding the smoked mozzarella and cooking the vegetables – I assembled my pizza on the pizza sheet.

I used plenty of corn meal and flour on the pizza sheet to make sure it wouldn’t stick and could slide right off on to the hot stone…but apparently I did not use enough. As I ended up with this:

Needless to say, my Sunday pizza dinner ended up being this:

Things I learned: When you are trying out a new kitchen tool, like a pizza stone, you maybe should do a few test runs before trying a recipe that will be featured on a blog.

 

Jessie Frazier, Manager of Adult Programming:

I’ve always found it kind of magical when a recipe makes strange ingredients tasty, so the editor’s own contribution to the cookbook, Disgustingly Good Cookies, caught my eye.

The recipe begins with chickpeas, drained, dried, and chopped in a food processor until they form a fluffy and surprisingly dough-like consistency. I added peanut butter, honey, vanilla, banana, and baking powder to the mix and finished it off with dark chocolate chips. I’m ashamed to say I was not brave enough to try the raw dough.

After scooping gobs of dough onto a cookie sheet and pressing them with a fork, I topped each cookie with a pinch of sea salt and put them into a 350 degree oven for about 13 minutes.

The flavor is nutty, oaty, just sweet enough, and thankfully not reminiscent of chickpeas. The texture is more akin to no-bake energy bites than crispy, ooey gooey cookies. These are not the indulgent cookies that I would eat while binge-watching Netflix. They are the ones I would put in my gym bag for a boost of energy before spin class, if I went to spin class.

Things I Learned: I still want to eat real cookies. But I’m glad to add this trick to my repertoire.

 

Katie Cooke, Manager of Adult Programming:

I was drawn to Francesca Lia Block’s Apple “Betty” recipe at first because I would be able to eat baked apples and call it work. And second, because of the beautiful, but sad poem that went along with it. The early stanzas call for white tapers, a crystal, and a plastic horse. I hope everyone will be okay with my substitutions of white tea candles and a tuxedo cat.

This recipe is about as simple as it gets, all I needed was flour, rolled oats, brown sugar, butter, and 4 apples. I’m always happy with a recipe that calls for things that I already have in my pantry.

You combine all the dry ingredients together in a bowl, easy enough. And then I went to work peeling the 4 gala apples. The recipe called for sweet or tart apples. I honestly do not know what the best apple is for baking, but gala apples are usually pretty sweet, so I chose them! After peeling the apples I cut them into quarters and pared them. To be honest, I think I may have cut them a little thinner than I should, but they were all uniform and isn’t that what really matters in the end? I’m going to tell myself, yes.

After all that cutting you throw the apples in the buttered pie pan. You melt the “cube of butter”, that is all it said in the recipe, so I used my best judgment. You melt it and mix that into the dry ingredients and then scoop it evenly onto the apples. I covered the pie pan with foil and baked it for 15 minutes then removed the foil and baked it for half an hour. It smelled amazing while it baked, 10 out of 10 for smell alone.

The first reaction I had was that the topping was good, but that was probably due to the clumps of warm, brown sugar. I wanted there to be cinnamon or nutmeg, some other flavor to really bring out the apple’s sweetness. But, for a recipe that I could make pretty much any day, at a moment’s notice, AND have Blue Bell ice cream, I was a happy camper.

Things I learned: Warm, baked apples should still count as a serving of fruit, even when there’s ice cream involved. Also, it’s great when a recipe is simple, but expect the taste to be on the simple side.

 

Please join us on Friday, April 21 at 7:00 p.m. to hear Natalie Eve Garrett discuss The Artists’ and Writers’ Cookbook: A Collection of Stories with Recipes.

Who Run the (Ancient) World?

In celebration of Women’s History Month, let’s look way back at a few leading ladies from the DMA’s collections who made their mark on the ancient world. Then join DMA curators Dr. Anne Bromberg, Dr. Kimberly L. Jones, and Dr. Roslyn A. Walker on Thursday, March 23 to hear more about Women of the Ancient World and the objects that tell their stories.

Red-figure column krater with Amazon, c. 470-460 B.C.E., ceramic with slip, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund, 2008.10

The Amazons were fierce group of women warriors who, until recently, were thought to be purely mythological figures. To the ancient Greeks, Amazons were barbarian man-haters and a formidable opponent for any would-be hero. They were an object of disgust for their rejection of traditional feminine roles, but they were also a source of fascination, often portrayed in art as beautiful and brave.

Altar depicting the first female ancestor, Indonesia, 19th century, wood and shell, The Eugene and Margaret McDermott Art Fund, 1999.181.McD

While this work of art was made fairly recently, it honors the founding female ancestor of this Indonesian society who is seen as the ultimate source of fertility. She is rising out of a boat, a symbol for the womb. Her arms are outspread, symbolizing the ancestral trunk of a tree and subsequent generations of branches.

Mummy and cartonnage, Egyptian, 19th Dynasty or later, wood and polychrome, Lent by Bridwell Library, Perkins School of Theology, Southern Methodist University, 20.2002.1.a-c

On this lid of this cartonnage, or coffin, we see an elaborately dressed woman and symbols of the deities that would protect her mummy inside. Although her identity is unknown, the quality of the coffin suggests that she was a person of wealth and social status.

Wall panel depicting Ix K’an Bolon, Mexico: state of Tabasco, Pomona, Maya culture, Late classic period, c. A.D. 790, Limestone, stucco, and paint, Foundation for the Arts Collection, gift of Mr. and Mrs. James, H. Clark, 1968.39.FA

The royal woman depicted in this Mayan relief sculpture is Ix K’an Bolon or “Lady Precious Nine.” The text on the panel and the iconography of her ornate clothing tell us she is depicted as a goddess. It is possible that this relief would have been balanced by a second showing her husband in similar dress, shedding light on the power and prestige of ruling women in Maya society.

Jessie Frazier is Manager of Adult Programming

Shot Through the Heart

Have you been caught in a bad romance? Had your heart broken? Then join us for Off the Wall on Thursday, February 9, to commiserate with all of us that have been Shot Through the Heart!

Forget finding your soul mate; instead find your perfect art match as you speed date through the Museum, completing fun activities at six different stops in our galleries. To give you a head start in finding your perfect art match, we can share that one of the stops will feature Two Truths and a Lie. For this activity, you will choose a work of art and receive three statements about the object. You will have to figure out which statement is the lie. Here is one example:

Engungun costume, Late 20th century, mixed media, Dallas Museum of Art, gift of Pace Primitive Gallery, New York, 2008.99.1

Engungun costume, Republic of Benin, Yoruba peoples, late 20th century, mixed media, Dallas Museum of Art, gift of Pace Primitive Gallery, New York, 2008.99.1

  1. The cowrie shell–embroidered face panel allows visibility, while “juju” elements attached beneath it provide supernatural protection during the performance.
  2. The chief priest of the Egungun masquerades invokes the spirit of the ancestors; when he does so, the rest of the worshippers’ dance movements and drums are possessed by the ancestral spirit.
  3. The Egungun festival is usually performed during the rainy months in Nigeria because it is believed that the rain helps the ancestors arrive more quickly.

Complete all six speed dating stops and you will receive a free beer or glass of wine in the DMA Cafe. While sipping your drink, learn that it could always be worse when you play a historical version of Marry, Date, Kill with portraits from our collection. Which one of these charmers would you want to keep forever?

Jean-Nicolas Billaud-Varenne was an instrumental figure in the Reign of Terror who hated foreigners, especially Marie Antoinette.

Jean-Baptiste Greuze, Portrait of Jean-Nicolas Billaud-Varenne, early 1790s, oil on panel, Dallas Museum of Art, anonymous gift, 1961.105

Jean-Baptiste Greuze, Portrait of Jean-Nicolas Billaud-Varenne, early 1790s, oil on panel, Dallas Museum of Art, anonymous gift, 1961.105

Edward Hyde was the worst governor of New Jersey and New York ever. EVER. He was also a cross-dresser, which had no impact on the quality of his governing.

Artist unknown, Portrait of a Lady, Possibly Edward Hyde, Lord Cornbury in a Dress, c. 1705-1750, oil on canvas, Dallas Museum of Art, gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen, 1992.47

Artist unknown, Portrait of a Lady, Possibly Edward Hyde, Lord Cornbury in a Dress, c. 1705-50, oil on canvas, Dallas Museum of Art, gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen, 1992.47

Semiramis wanted to rule Assyria so badly that she kinda-sorta killed both of her husbands. #WhoRunTheWorld

William Wetmore Story, Semirarmis, designed 1872, carved 1873, marble, Dallas Museum of Art, gift of Morynne and Robert E. Motley in memory of Robert Earl Motley, Jr., 1972-1998

William Wetmore Story, Semiramis, designed 1872, carved 1873, marble, Dallas Museum of Art, gift of Morynne and Robert E. Motley in memory of Robert Earl Motley, Jr., 1972-1998

End your night with unlucky in love music classics like You Give Love a Bad Name, Shot Through the Heart, Bad Medicine, and other Bon Jovi classics performed by Blaze of Glory: the Bon Jovi Experience.

And if you’ve already found your soul mate, or you’re just starting to date that special someone, please also join us this Thursday, February 9, to prove that love does conquer all!

Stacey Lizotte is the Head of Adult Programming and Multimedia Services at the DMA.
Katie Cooke is the Manager of Adult Programming at the DMA.
Madeleine Fitzgerald is the Audience Relations Coordinator for Programming at the DMA.

Let’s Dance

We’ve been lucky over the past year to partner with Dance for PD® on a collaborative program offered each month here at the DMA in which members of the local Dance for PD/Movement Disorders class have been immersed in gallery discussions, interactive dance, and movement. To facilitate the program, DMA educators team up with Misty Owens, a Dance for PD® founding teacher at the Mark Morris Dance Group, who has been teaching the specialized classes since 2003 in Brooklyn, New York, and locally throughout the Dallas Metroplex since 2011.

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Parkinson’s disease is a neurological disorder that affects up to one million people in the United States. Someone with the disease may have tremors, slowed movement, rigid muscles, and impaired posture and balance. While there is no cure for Parkinson’s disease, one of the most important recommendations is to stay active, focusing on balance and flexibility. Dance for PD® engages the participants’ minds and bodies, and creates an enjoyable social environment that emphasizes dancing rather than therapy. Owens’ expertise in dance allows for active demonstration to inspire participants to recapture grace, while guided improvisation inspired by works of art in the collection fosters creativity and experimentation with movement. Participants not only have the chance to learn and talk about art, but to move their bodies and dance in the galleries!

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Pat Goukler, one of the Dallas dancers, said of her experience, “I don’t have PD, but my husband does, so I do this with him. I’ve seen him develop a creativity that I hadn’t seen in 48 years of marriage. He looks at a piece of art and interprets it with his body. It is phenomenal; he has developed rhythm. It has been a joy to watch him experience a new way of expressing himself through art.”

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Another member of the class said the Dance for PD program at the DMA “gave us all a new lease on life WITHOUT Parkinson’s. Yes, that’s possible!” Another stated that the experience “made my body feel so free. There were moments (quite a few, actually) when my body and mind felt so graceful and calm. The beauty of art and movement go together so well—I was surrounded by a joyous feeling!”

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The opportunity to collaborate with Owens has allowed the DMA to engage with people from the Parkinson’s disease community in a way that we’ve never done before. The participants in the program are already focusing on movement, flexibility, and balance, which are essential to those with Parkinson’s disease, but having the class in the DMA galleries enables them to connect their dancing to visual works of art, providing them another avenue of inspiration—a meaningful experience for all involved!

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Amanda Blake is Interim Director of Education and the Head of Family, Access, and School Experiences at the DMA.

Genre Bending

Walter De Maria

“Every good work of art should have at least ten meanings,” remarked Walter de Maria, one of the major figures in the history of Minimal, Conceptual, Installation, and Land, in 1974. One thing I admire about his work is how complex and multifaceted it is (literally and figuratively); it invites us as viewers to hold in mind a few ideas at once and to consider it from a variety of perspectives.

Mark your calendars for Wednesday, January 18 to do exactly that, and to celebrate the DMA’s recent co-acquisition with the San Francisco Museum of Modern Art of Large Rod Series: Circle/Rectangle 5, 7, 9, 11, 13 by De Maria at a DMA Arts & Letters Live event.

Top: author Geoff Dyer Bottom: DMA curator Gavin Delahunty

Top: author Geoff Dyer
Bottom: DMA curator Gavin Delahunty

This Artful Musings event will feature senior curator Gavin Delahunty who organized the Walter De Maria: Counterpoint installation and will provide an overview of the artist, his work, and importance; award-winning author Geoff Dyer who has written about De Maria’s work in his newest book White Sands; and percussionist Stockton Helbing, who will perform some of the artist’s rare musical compositions.

After 5:00 p.m., you can linger in the installation before it goes off view on January 22 — it’s the perfect opportunity in a quieter setting to experience the artist’s work. As Caitlin Haskell notes in her catalogue essay, “it takes time to come to know them.” There is rich resonance between El Greco’s painting of Saint Francis Kneeling in Meditation (1605-1610, on loan from the Meadows Museum) and De Maria’s sculpture. The juxtaposition of these two works creates a rich meditation on the themes of minimalism, mathematics, progression, and sensory perception.

Walter De Maria, Counterpoint

Walter De Maria: Counterpoint, 2016

Shortly after 7:00 p.m., percussionist Stockton Helbing will perform of one of De Maria’s musical compositions, with Gavin Delahunty’s and Geoff Dyer’s insights and conversation kicking off at 7:30 p.m. Dyer will then sign copies of his books, and Delahunty will sign copies of the newly published exhibition catalogue.

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Both artist and author defy easy classification or categorization in their respective fields. De Maria was a painter, sculptor, illustrator, and composer. The New Yorker calls Dyer “a restless polymath and an irresistibly funny storyteller. . . . adept at fiction, essay, and reportage, but happiest when twisting all three into something entirely his own.”

Dyer’s newest book, White Sands: Experiences from the Outside World, showcases his series of fascinating adventures and pilgrimages across the globe. They range from searching for Gauguin’s notion of exotic paradise in Tahiti to nearly freezing and being trampled by a dog sled on a quest to see the Northern Lights. Weaving stories about recent travels with images and memories from his childhood, Dyer tries to discern what a certain place and, like De Maria, what a certain way of marking a landscape, means; he explores the power and attraction that certain places hold and what we seek in them.

My favorite chapter in White Sands is the one in which Dyer, his wife, and friends experience De Maria’s The Lightning Field in western New Mexico, where the only way to visit is to reserve a cabin on the property and stay overnight, allowing you to experience the 400 rods in at various times of day and in varying degrees of sunlight.  Reading it made me want to prioritize this as my next road trip.

Walter De Maria’s The Lightning Field, Quemado, New Mexico

Walter De Maria’s The Lightning Field, Quemado, New Mexico

For those who want to delve further into this topic and artist, don’t miss the opportunity to hear Walter De Maria in his own words about his land art installations as part of a free film screening of The Troublemakers: The Story of Land Art on Saturday, January 21 at 2:00 p.m. at the DMA. Explore Arts & Letters Live’s lineup of more than 30 events over the next six months here.

Carolyn Bess is the Director of Arts & Letters Live at the DMA.


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