Archive for the 'Collections' Category



Fashion on Flora Street

One of the many things I’ve enjoyed since joining the DMA Intern Class of 2016 is working with Booker T. Washington seniors to develop their own projects for community engagement at the DMA. A few times a week, the students walk down the street to visit the Museum. We’ve been discussing different learning styles and how to appeal to all the diverse learners that visit museums. While assisting students with their projects is my main focus during their visits to the DMA, I cannot help but also pay special attention to their fashion choices. From week to week, each student’s individual style has inspired me.

So for today’s post, I wanted to highlight some pieces in the DMA’s collection that feature elements of these students’ style. Maybe they will inspire you too!

From the stage to the runway, septum rings have moved beyond counterculture to mainstream fashion.
IMG_8252
Find these nose rings at the DMA on Level 4 in the Ancient American galleries.

Carefully taut buns, messy half-up top knots, and lots of little Bantu knots—this unisex hair trend can be styled in so many different ways. Like it or knot, buns are here to stay.

PG_2009_46
For top knot inspiration, look to Bodhisattva in the South Asian gallery and Monju (Manjusri) in the Japanese gallery, both on Level 3.

One-piece swimsuits and leotards have been back for a few years now. But with some of the Booker T. girls, I’ve noticed them as daily wear with skirts and sweaters or even cut-off shorts and a flannel shirt wrapped around the waist.

1988_22
This Bather in a one-piece carries off the look with some attitude. She’s a music video waiting to happen. Catch her on Level 4 in the American galleries.

Men’s patterned shirts mirror many of the patterns in our permanent collection. Some of the young men at Booker T. have been seen sporting stripes and floral prints on their button downs. The DMA is home to many intricate textiles as well as paintings that feature patterns that may inspire your own style.

4

You can see these three men in patterned shirts in the folding backgammon board in the Level 3 South Asian galleries; the shirt for the figure of a saint is found on the Level 4 outside the Ancient American galleries; and Leon Polk Smith’s asymmetrical work Homage to Victory Boogie Woogie #1 is in the American galleries on Level 4. The paisley pattern is a detail of Alfred Stevens’ The Visit, found on Level 2 in the European galleries.

Stop by the DMA soon for your next style inspiration.

Whitney Sirois is the McDermott Graduate Intern for Gallery and Community Teaching at the DMA.

Images: Group of nose and ear ornaments, Columbia, Sinú, c. A.D. 500-1550, 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.451-454, 456-458,460; Nose ornaments, Columbia, Sinú, c. A.D. 1000-1550, 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.468, 810, 605; Maitreya, India, Kushan period, 2nd–3rd century, schist, Intended bequest of David T. Owsley; Monju (Manjusri), Japan, Nanbokucho, 1336-1392, ink, color, and gold on silk, Dallas Museum of Art, Dallas Art Association Purchase, 1970.8; Yasuo Kuniyoshi, Bather with Cigarette, 1924, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds/City of Dallas (by exchange) in honor of Dr. Steven A. Nash, 1988.22; Folding backgammon board, India, Mughal period, 19th century, wood, ivory, cord, and inlay, Intended bequest of David T. Owsley; Shirt for the figure of a saint, Guatemala, Kaqchikel Maya, c. 1910-1930, cotton and silk, Dallas Museum of Art, anonymous gift, 2008.194; Leon Polk Smith, Homage to Victory Boogie Woogie #1, 1946, oil on canvas, Dallas Museum of Art, DMA League Purchase Fund, 2000.391; Alfred Stevens, The Visit, before 1869, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1997.112

Me Want Art: Cookie Monster’s DMA Birthday

In order to celebrate the birthday of Sesame Street’s iconic Cookie Monster, Uncrated decided to go a little further with our imagination.

What would it be like if Cookie Monster stopped by the Museum? Would he try and serve up his tasty confections to guests at the Cafe? Or would he blend in and wait for the rest of the Sesame Street gang in the atrium?

Here’s how we think Cookie Monster would spend a day at the DMA.

Cookie5 Cookie4 Cookie3 Cookie2 Cookie1

Gregory Castillo is the Multimedia Producer at the DMA 

Red Hot

This past weekend the annual TWO x TWO for AIDS and Art benefit dinner and contemporary art auction raised a record $8.3 million! In commemoration of the event, which supports the DMA’s contemporary art acquisitions fund and amfAR’s AIDS research efforts, and in recognition of Ellsworth Kelly, this year’s honored artist, we installed the artist’s work Red Panel, which entered the DMA’s collection in 1985. You can view this work in the Museum’s Concourse on your next visit, and then stop by Untitled , which was commissioned for the Museum’s Sculpture Garden.

Texas-Sized Tea with Friends

In September, a group of DMA Friends joined us for an exclusive and new DMA Friends rewards event: Tea Time, Deep in the Heart of Texas. We began our afternoon getting to know each other over Texas-inspired light refreshments which included sweet tea and lemonade paired with mini jalapeño cornbread muffins and mini buttermilk biscuits, baked fresh especially for us by the wonderful staff of the DMA Cafe.

Dallas Museum of Art_DMA Friends Tea Time, Deep in the Heart of Texas (9)_September 2015_Courtesy of Dallas Museum of Art

We learned interesting tidbits about each other, such as what artwork from the DMA collection Friends wanted to take home.  The Icebergs was the clear winner,  yet another Friend wanted to jump into The Ocean’s Bounty: Undersea Windows by Louis Comfort Tiffany!

Next, we ventured up to the Dozier study room, a meeting space named after and honoring Texas artists Velma and Otis Dozier. Rae Pleasant, the Museum’s  Research Associate for Early Texas Art, showed us objects in the collection that we might not ordinarily see as they are displayed in cases inside the DMA offices.

The “Tea Time, Deep in the Heart of Texas” reward gives DMA Friends a fun social interaction combined with a new way to engage with art. We heard interesting facts, perused archival material and shared personal reactions to the artworks in Dozier as well as in the Museum galleries. Best of all, we deepened and expanded our circle of art Friends!

Start saving your points now and be on the look out for a new tea time with a new theme at the beginning of the new year.

Tanya Miller is the Friends Community Manager at the DMA

30-Minute Dash: Emily Schiller

The design of the DMA provides several places for visitors to observe disparate forms of art within adjacent spaces. I find these vantage points to be the Museum’s most unexpected assets and my recommended route passes three of them.

concourse2

Take the mid-Concourse stairs to the third-floor balcony. From this elevated perspective you’re able to recognize the curious pairing of sculptures on the ground level and left wall. William Wetmore Story’s Semiramis  follows the familiar tradition of depicting legendary figures in white marble. She reclines near the base of a 1930s Ceremonial pole (mbis) created by the Asmat people in the southwestern region of present-day New Guinea. These works arguably have little in common, and yet at the DMA they are neighbors, ripe for comparison and appreciation.

Next, proceed through the Japanese gallery on the Museum’s third level to the balcony that looks back onto your previous position. The expanse of artistic styles, periods, materials, and intentions gains a level of complexity with the presence of a cast bronze sculpture from the Meji period, Takenouchi no Sukune Meets the Dragon King of the Sea.

Emily Schiller is the Digital Collections Content Coordinator at the DMA.

Opening Night: Spirit and Matter

Tomorrow Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art opens during our September fall block party Late Night. Huffington Post ranked it at #1 among “need to see” art shows this fall and it is a “Critic’s Pick” in The Dallas Morning News. This morning, exhibition curator and DMA Senior Advisor for Islamic Art Dr. Sabiha Al Khemir shared a sneak peek of the exhibition with national press.

Be among the first to see these intricately decorated objects spanning numerous centuries and continents tomorrow night and join Dr. Al Khemir for a talk on the works of art at 7:00 p.m.

 

Precious Objects

Twenty-five works from the celebrated Rose-Asenbaum Collection of modern and contemporary jewelry are now on view, and included in free general admission, in the Museum’s Tower Gallery exhibition Form/Unformed: Design from 1960 to the Present. The collection includes over 700 pieces of modern studio jewelry created by more than 150 acclaimed artists from Europe and around the world. Take time to “ooh” and “ahh” over these magnificent bracelets, brooches, necklaces, and more.

Photo 1

Photo 2

Photo 3

Photo 4

Photo 5

Top Dog

Today Uncrated celebrates man’s best friend during National Dog Day. Below are some of our favorite pooches in the DMA’s collection. Visit these artistic canines in the Museum’s galleries, which are always included in the DMA’s free general admission, and see if you can spot a few other pups in works throughout the collection.

Nicolas Mignard, The Shepherd Faustulus Bringing Romulus and Remus to His Wife, 1654, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated 1970.25

Nicolas Mignard, The Shepherd Faustulus Bringing Romulus and Remus to His Wife, 1654, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1970.25

Mythical aso (one of a pair), Kayan people, 19th century, wood (kayu tapang or Koompassia: Excelsa), Dallas Museum of Art, The Roberta Coke Camp Fund and the Museum League Purchase Fund 1995.34.2

Mythical aso (one of a pair), Malaysia, Borneo, Kayan people, 19th century, wood, Dallas Museum of Art, The Roberta Coke Camp Fund and the Museum League Purchase Fund, 1995.34.2

John White Alexander, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer), 1901-1902, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation in memory of Pauline Gill Sullivan 2007.36

John White Alexander, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer), 1901-02, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation in memory of Pauline Gill Sullivan, 2007.36

Ralph Earl, Captain John Pratt (1753-1824), 1792, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation 1990.146.1

Ralph Earl, Captain John Pratt, 1792, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1990.146.1

Get this Family Gallery Guide, and others, online or on your next visit to the DMA.

Kimberly Daniell is the Manager of Communications and Public Affairs at the DMA.

 

Chasing Waterfalls

This month, the Dallas Museum of Art debuts a new acquisition in the American galleries that highlights the work of Henrietta Shore (1880–1963), an artist who made a significant contribution in the development of American modernism. While she and her work were held in high regard, by the 1940s both had fallen into obscurity. Fortunately, the artist is now undergoing rediscovery, as well as a long-overdue reassessment of her impact on American art of the 20th century.

Henrietta Mary Shore, Waterfall, c. 1922, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Boeckman Mayer Family Fund 2015.24.FA

Henrietta Mary Shore, Waterfall, c. 1922, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Boeckman Mayer Family Fund, 2015.24.FA

Waterfall is a remarkable product from one of the most innovative periods of Shore’s long career, when she visually interpreted the natural world into its most essential and abbreviated forms. These “semi-abstractions,” as she called them, were an attempt to convey in a symbolic way the underlying spiritual forces she sensed in nature rather than a literal transcription of the visual phenomena she observed. In Waterfall, pure line and the juxtaposition of positive and negative shapes laid down with the sheer application of pigment are the means the artist employed to render visible the dynamic power of the eternal. Color is the emotional key she wielded to unlock the visual impact of the whole.

Although she was born in Toronto, the key portion of Shore’s artistic training was acquired in the United States, most significantly under Robert Henri in New York. After several years in California, she returned to New York City in 1920 and, forsaking narrative subject matter and the loaded-brush paint application she had learned from Henri, developed the stripped-down modernist approach demonstrated in Waterfall. The inspiration for this bold composition came, most likely, from her explorations of Maine and Canada during the summer of either 1921 or 1922. When her semi-abstractions debuted in a New York gallery in January of 1923, they were widely discussed by critics, who immediately and positively compared them with works by Georgia O’Keeffe then on view at another gallery across town.

On Wednesday, August 19, learn more about the newest addition to the DMA’s American Art Galleries during our lunchtime gallery talk.

Sue Canterbury is The Pauline Gill Sullivan Associate Curator of American Art at the DMA.

30-Minute Dash: Reagan Duplisea

In our second installment of 30-Minute Dash” DMA Registrar Reagan Duplisea shares her solution to the tough task of only 30 minutes in the DMA.

A DMA highlights tour for me would begin by taking the elevator to the second floor galleries and turn left to be met with a wall of compelling and dramatic emotion and color, which begins with the despair of Ramon Casas’ Tired, the treacherous sea-swept cemetery of Adolf Hiremy-Hirschl, and ends on the idyllic pastoral note of Hans Thoma’s Olive Grove at Lake Garda.

Take the small staircase up to the third floor and take a quick turn through the Northern Decorative Arts gallery. Bask in the glow of the Tiffany windows and Front doors from the Robert R. Blacker House and admire the sturdy yet stunning craftsmanship of the Stickley workshop. Then take a few more steps into the light-infused foyer of the Reves period rooms. Don’t miss the Winston Churchill room, especially his oversized brandy glass and self-portrait in the guise of a portly pig.

As you exit the decorative arts galleries, make a right to marvel at the delicate Japanese ceramics, pause for a contemplative moment in the calming ambiance of the gallery of Japanese screens and take a quick wander amidst the sly smiles of the Oceanic figures. Take the stairs to the fourth floor and veer left on a path that will lead you past the harmonious and fine lines of Charles Biederman’s Work no. 3, 1939, the Viktor Schreckengost Jazz Bowl and Charles Sheeler’s Suspended Power.

This reverse route through the American galleries will ensure that you pass by the majestic Gothic bed before you exit and make a quick beeline for the Ancient Arts of the Americas. The first gallery features objects of jade, in amazing shade variations, and the second will dazzle you with an array of gold. As you leave the final gallery, throw a glance over your right shoulder to catch a glimpse of the charming Yup’ik Mask with seal or sea otter spirit. The Mixtec Crouching frogs outside the galleries will stick their tongues at you, playfully suggesting that you didn’t allot nearly enough time for your visit and goad you into planning another, longer visit soon.

Reagan Duplisea is the Associate Registrar, Exhibitions at the DMA


Archives

Categories