Archive for the 'Curatorial' Category

Connections Across Collections: Gratitude

With more than 25,000 objects, the DMA’s encyclopedic collection is a treasured source of inspiration. Our curators selected works from across collections to express sentiments of gratitude—read their picks below!

Deborah Roberts, When you see me, 2019, mixed media and collage on canvas, Dallas Museum of art, TWO x TWO for AIDS and Art Fund, 2020.20, © Deborah Roberts. Courtesy the artist and Stephen Friedman Gallery, London. 

Dr. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art 
“I am thankful for the contributions of Texas artists to our collection. One of my favorite recent acquisitions is by Austin-based Deborah Roberts, whose When you see me is a work of heartbreaking beauty that elicits an honest reckoning from the viewer.” 

Edward Hicks, The Peaceable Kingdom, c. 1846-1847, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, 1973.5

Sue Canterbury, The Pauline Gill Sullivan Curator of American Art 
“Hicks’s allegory centered around themes of peace and unity resonates at this moment when we at the DMA yearn for companionship and understanding. Hicks’s painting is an ideal and historic model for the possibility of peaceful coexistence and of gratitude for the blessings of community.” 

Ex-voto Dedicated to Saint Martin of Tours, 1886, Mexico, oil on tin, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus Foundation, 1961.84

Dr. Mark A. Castro, The Jorge Baldor Curator of Latin American Art 
“C. Nicolaz Moralez fell from a tree on October 7, 1886. Carried home in a blanket, he prayed to Saint Martin. After his recovery, he commissioned this small ex-voto to offer his thanks to the saint for healing him.” 

Lorna Simpson, Blue Turned Temporal, 2019, ink, watercolor, and screenprint on gessoed fiberglass, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.16, © Lorna Simpson. Courtesy the artist and Hauser & Wirth. Photo: James Wang 

Vivian Crockett, The Nancy and Tim Hanley Assistant Curator of Contemporary Art 
“I’m grateful for recent acquisitions that not only highlight the strength of the artists in question, but also make possible meaning dialogues with existing works in the collection. Lorna Simpson’s Blue Turned Temporal (2019) exemplifies her lifelong commitment to interrogating supposedly universalist frameworks and in turn, enriches our understanding of Frederic Edwin Church’s The Icebergs (1861), a beloved work in the DMA’s collection.” 

Qur’an, Damascus, Syria, 1340, ink, gold and colors on paper (modern binding), Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.578, fol.217v. 

Dr. Heather Ecker, The Marguerite S. Hoffman & Thomas W. Lentz Curator of Islamic & Medieval Art 
“A well-known verse in the Qur’an tells us that the expression of gratitude is for the benefit of one’s own soul (Q 31:12). It can be read in the third and fourth lines of this page from a manuscript on view in the Keir Collection gallery.” 

Kazuo Shiraga, Imayo Ranbu (Modern Dance), 2000, oil on canvas, The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund, 2013.21, ©︎ The Estate of Kazuo Shiraga 

Dr. Vivian Li, Lupe Murchison Curator of Contemporary Art 
“The bright, explosive colors of Imayo Ranbu evokes the vigorous energy and movements of the artist in creating this foot painting. The title’s reference to the festive dance (ranbu) of the Heian period (794-1185) in Japan further conveys a mood of celebration and joy.” 

Louis Anquetin, Woman at Her Toilette, 1889, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2020.3.FA 

Dr. Nicole R. Myers, The Barbara Thomas Lemmon Senior Curator of European Art
“I am incredibly grateful for the generosity of Dallas’s own Foundation for the Arts. Through its dedication and sustained support, we are able to add masterpieces to the DMA’s galleries, such as Louis Anquetin’s Woman at Her Toilette. This exquisite recent acquisition by an artist in Van Gogh’s circle debuts in the European galleries this month.” 

Artist once known, Chancay, doll, 1000–1460, cotton and camelid fiber, Dallas Museum of Art, the Nora and John Wise Collection, bequest of John Wise, 1983.W.2181 
Artist once known, Wari (Huari), tunic with profile heads and step frets, 850–950 CE, cotton and camelid fiber, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Carol Robbins’ 40th anniversary with the Dallas Museum of Art, 2004.55.McD 
Artist once known, Maya, Tzutujil, spindle with white cotton, 1970, wood and cotton, Dallas Museum of Art, The Carolyn C. and Dan C. Williams Collection of Guatemalan Textiles, 1982.274.A-B
Artist once known, Chimayo or Rio Grande, blanket, c. 1900–1920, cotton and wool, Dallas Museum of Art, gift of John Lunsford, 2003.51

Dr. Michelle Rich, Ellen and Harry S. Parker III Assistant Curator of Arts of the Americas 
“Materials used to spin yarn and tools employed to produce cloth may vary across time and space, but weaving in the Americas is a rich tradition that is thousands of years old. Textiles are extremely fragile, and I am grateful the DMA has the opportunity to help preserve a wide range of works: from Andean dolls and tunics to Maya wooden weaving tools to Chimayo and Navajo blankets.” 

David Clarke, Family Matter, 2020, sterling silver, silverplate, pewter, common salt, paint, and sugar, Dallas Museum of Art, Silver Supper Fund, 2019.96 

Sarah Schleuning, Interim Chief Curator and The Margot B. Perot Senior Curator of Decorative Arts and Design 
“Comprised of heirloom silver contributed by DMA staff, patrons, and trustees, Family Matter embodies the meaning and memory instilled in treasured family objects. With this work, David Clarke created a unified vision of our extended communities reminding us that the past and present continue to be connected, often in new and unexpected ways.” 

Sword ornament in the form of a spider, Ghana, Asante peoples, late 19th century, gold-copper-silver alloy, Dallas Museum of Art, McDermott African Art Acquisition Fund, 2014.26.1

Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art 

“Thanks to the McDermott African Art Acquisition Fund, the DMA was able to acquire a 19th century cast gold sword ornament in the form of a spider from Ghana. What I learned about it inspired an awesome exhibition, The Power of Gold, and brought Asante royalty to the Dallas.” 

Under the Influence: What Inspired Picasso

Picasso’s first financial success came in spring 1906, when he sold the entire inventory of his studio to art dealer Ambroise Vollard for the then large sum of 2,000 francs. This allowed him and his partner, Fernande Olivier, to travel to Barcelona and from there to the Pyrenean village Gósol. In Spain, Picasso was a different person, Olivier remembered: “As soon as he returned to his native Spain, and especially to its countryside, he was perfused with its calm and serenity. This made his works lighter, airier, less agonized.” It is not surprising then that in the almost three months the couple spent in Gósol, Picasso produced more than 300 paintings, drawings, and sculptures with Olivier as his main model. A significant change in his style announced itself during these months, influenced in part by the spare landscape and the region’s unique colors, but also by two exhibitions he recently saw: the Jean-Auguste-Dominique Ingres retrospective at the 1905 Salon d’Automne, and a display of Iberian art at the Louvre from recent excavations in Andalusia.

Pablo Picasso, Nude with Folded Hands, 1906, gouache on paper, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.19.McD

A diamond pattern and the contours of a figure bleed through the thin paint of the pale pink background in Nude with Folded Hands. Only Olivier’s own ocher outlines set her apart from the nondescript, empty environment in which she is standing, giving the painting the effect of a bas-relief. The voluptuous body seems awkwardly twisted at its waist and shoulders, the head is slightly bent down, and her almond-shaped eyes are closed. In its rigidity, the face evokes Iberian art as well as a sculpture bust of Olivier, Head of a Woman, that Picasso made in the same year. Standing in front of her beholder, she is timidly folding her hands; however, her modesty is a false one, her hands revealing more than they hide, guiding the viewers gaze. Olivier often posed in the nude for Picasso, and while the young artist frequently made small drawings and caricatures of his sexual escapades, the studies and paintings of Olivier from 1906 stand out through their intimate eroticism, absent in his earlier works and in the following years.

Pablo Picasso, Bust, 1907-08, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Joshua L. Logan, Loula D. Lasker, Ruth and Nathan Cummings Art Foundation, Mr. and Mrs. Edward S. Marcus, Sarah Dorsey Hudson, Mrs. Alfred L. Bromberg, Henry Jacobus and an anonymous donor, by exchange, 1987.399.FA,
© Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Bust, probably painted in the winter of 1907-08, looks fundamentally different than Nude with Folded Hands⁠—and much had happened in the meantime. In spring or summer 1907, he visited the indigenous art and culture collection at the Musée du Trocadéro in Paris, which was dusty and deserted, but opened Picasso’s eyes to a new influence: art from outside the Western canon, originating from European colonies in Africa and Oceania; this led him to finish his monumental painting Les Demoiselles d’Avignon (1907, MoMA). Finally, at the Salon d’Automne, he saw the retrospective dedicated to Paul Cézanne. These exhibitions had a great influence on Picasso’s artistic development and his quest for an escape from the confines of illusionistic art, established during the Renaissance. Picasso further explored the pictorial means of simplification; the muscular woman in Bust, lifting her arms above her head and pulling her hair into a bun, is reduced to outlines and shading that is achieved through isolated application of color and expressive brushstrokes, rather than the traditional method of gradients from white to black. Her face, devoid of emotion, echoes the masks he saw at the Trocadéro, which might have looked like the Je face mask from the Yaure peoples.

Je face mask, Yaure peoples, about 1930-52, wood and pigment, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2018.7.McD

The fragmented body is reduced to basic geometric shapes, with their contours opening so that the background and the foreground merged, like Picasso had observed in Cézanne’s work.

Paul Cézanne, The Rooftops, about 1898, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.6.McD

Despite being celebrated as an inventor, Picasso never worked in an artistic vacuum. Trying to find a new language from 1906 onward, he was especially perceptible to influences from outside the traditional Western canon, which makes these works compelling, even for the present-day beholder.

Christine Burger is the Research Assistant for European Art at the DMA.

Connections Across Collections: Latin American Influence

As Hispanic Heritage Month continues, we’re spotlighting artworks and objects in our collection that were created with influence from Latin American culture and artists. We asked curators from across departments for their picks, and here’s what they had to say:

Sue Canterbury, The Pauline Gill Sullivan Curator of American Art

The year before settling in Taos, Emil Bisttram studied with Diego Rivera in Mexico. This painting’s volumetric forms and linear qualities evidence Rivera’s influence. It bears the hallmarks of Bisttram’s work from the early 1930s that often depicted Native Americans and the artist’s all-consuming interest in New Mexico’s architecture and landscape.

Emil J. Bisttram, Pueblo Woman, 1932, tempera and oil glaze on panel, Dallas Museum of Art, gift of Mr. and Mrs. Royal C. Miller, 1960.165

Dr. Michelle Rich, The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, and Dr. Mark A. Castro, The Jorge Baldor Curator of Latin American Art

Keros (ceremonial wooden cups from the Andes) in the DMA’s collection range in date from the 15th century through the Spanish viceregal period. As on the elegant kero with palm trees and flowers, their decoration can recall the geometric designs favored in the indigenous art of the pre-contact Inka Empire (for comparison, see this ceramic kero and checkerboard tunic). The cups, however, could also feature complex narratives. The kero with plowing scene depicts a man driving a plow ox, followed by two women: the first woman is planting seeds, and the second is ceremonially raising a pair of keros in the air (for more detail, see the rollout photograph of the upper portion).

Upper left: Quero (qerokero) with palm trees and flowers, Peru, Inca, mid-17th–late 18th century, wood and pigmented resin inlay, 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.1849; Upper right and bottom: Quero (qerokero): plowing with oxen, Peru, Inca, 17th–18th century, wood, metal, cane, and pigmented resin inlay, 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.1851

Unrestrained Luxury & Unlocking Secrets: The 17th-Century Torre Tagle Cabinet

The Spanish Colonial Gallery on Level 4 at the DMA

This opulent cabinet is among the Dallas Museum of Art’s most glittering masterpieces—and one of my favorites. The marquetry and inlay that cover its exterior and interior is composed of thousands of intricately fitted pieces of mother-of-pearl and tortoiseshell, further accentuated with ivory and gilt wood elements, as well as brass wire and nails. This extravagant use of precious materials over the cabinet’s surfaces creates a sense of unrestrained luxury, signaling the wealth and status of its owners.

Scholars once believed that the cabinet was made in Goa, India, or perhaps in Manila, Philippines, but recent studies have revised that thinking. We now place its production in Lima, the capital of the Viceroyalty of Peru during the Spanish viceregal period. This is in part because of the abundance of furniture with this style of decoration—writing desks, sewing boxes, chests, etc.—that can be found there today, in churches and in private collections.

Cabinet, about 1680–1700, mahogany, mother-of-pearl, ivory, and tortoiseshell, Dallas Museum of Art, gift of The Eugene McDermott Foundation, in honor of Carol and Richard Brettell, 1993.36

Lima was a regional and global trade hub at the end of the 17th century. This gave furniture makers access to a wealth of precious materials, such as Spanish cedar and Central American hardwoods, which were often used for the interior structures of cabinets like this one. The precisely cut pieces of mother-of-pearl and tortoiseshell may have also been imported, perhaps shipped in pre-cut standardized shapes.

Existing literature says the cabinet once belonged to Melchor Portocarrero, the third count of Monclova; I have found no concrete proof of this but am intrigued by the legend. It was thought that he commissioned the piece from Goa or Manila while living in Mexico City and acting as the viceroy of New Spain (1686–88), later taking the cabinet with him to Lima when he became viceroy of Peru (1689–1715). If the cabinet did belong to the count of Monclova, it now seems more likely that he commissioned the work directly from a workshop in Lima. Almost nothing is known about the furniture makers in Lima during this period, although there were almost certainly specialized makers dedicated to this style of decoration.

Cabinet (detail)

One important clue in the cabinet’s history can be found on its crest, which contains a painting of the coat of arms of the marquises of Torre Tagle, set in a double-headed eagle decorated with mother-of-pearl. Granted their title by King Philip V of Spain in 1730, the Torre Tagle family were prominent members of Lima’s aristocracy. The third marquis of Torre Tagle married a descendent of the count of Monclova, which was long thought to explain how the cabinet came into the family’s possession. It is possible, however, that the work’s original commissioners were the marquises themselves.

So, while there is much that isn’t known about the cabinet, the DMA is working to unlock its secrets. In the meantime, it remains the grandest example of this style of furniture in a public collection anywhere in the world, and one of the highlights of the Museum’s Level 4 galleries.

Take an inside look at the cabinet here:

Dr. Mark A. Castro is The Jorge Baldor Curator of Latin American Art at the DMA.

You Asked, They Answered! #AskaCurator Highlights

The DMA participated in #AskaCurator Day on Twitter last week—a day that harnessed the power of social media to connect our curators to just about anyone with a Twitter account and a burning question. Users tweeted their questions using the #AskaCurator hashtag for our seven participating curators to respond to. This resulted in a wide-ranging (and fun!) array of answers, from absurd museum gifs to personal anecdotes. Here are a few of the highlights:

Q: What is your favorite museum gif?

Q: How important is social media to seeing and finding new artists?

Q: What’s one of the weirdest paintings in your collection?

Q: What is your biggest “OMG I can’t believe I get to work/handle these object(s), pieces of history, etc.”?

Q: How have you done your job during the pandemic?

Follow us on Twitter to read through all of our #AskaCurator threads!

The Figures Behind “Hands of the Heroes”

The brooches in Kiff Slemmons Hands of the Heroes series, part of the exhibition Contemporary Art + Design: New Acquisitions, are each inspired by historical figures. Browse our round-up of interactive materials below to help you become familiar with the heroes represented and their historical significance.

Kiff Slemmons, Hands of the Heroes, 1987–1991, silver, ebony and mastodon ivory, Dallas Museum of Art, gift of Deedie Potter Rose; TWO x TWO for AIDS and Art Fund for Wearable Art, 2020.12.1-12

Harry Houdini

Jacques Cousteau

Marie Curie

Marco Polo III

Don Quixote

Glenn Gould

Roald Amundsen

Louis Leakey II

Fred Astaire

Emily Dickinson

Stephen Jay Gould

Joseph Cornell

Tracy Hicks’s “Freedman’s Field”

Tracy Hicks was a beloved figure in the Dallas arts community when he passed away in 2014 at the age of 68. Having myself moved to the city only in January 2017, I never got a chance to meet him, but his reputation soon reached me as I attempted to immerse myself in the local arts scene. Hicks was a foundational figure in Dallas, where he had lived since he was a toddler, before ultimately moving with his wife, journalist Victoria Loe Hicks, to North Carolina.

In fall 2018, Greg Metz invited me to see a brilliant retrospective of Hicks’s work at UTD’s SP/N Gallery. After walking through several rooms that showcased Hicks’s investigations around the intersection of scientific and archival processes with art, we encountered a light-locked space. Upon turning the corner, Freedman’s Field, a collection of excavated artifacts artfully arranged on a table, lay in resplendent glory. I had known of the work because it was first exhibited at the DMA in 1994 as part of the Encounters series, which keenly paired his work with the YBA artist Damian Hirst.

Tracy Hicks, Freedman’s Field, 1990–94, wood table, pottery shards, broken bottles, old watch parts, fragments of porcelain dolls, coins, buttons, oxidized silverware, and rusted metal, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund, 2020.14

Seeing it for the first time in person, after being steeped in the artist’s world and regaled with stories of his life and practice through Professor Metz’s fabulous tour, was a revelatory experience. The intense love and care Hicks had shown for these objects, which were repositories of such an important and lesser-known history of my new hometown, was palpable. I instantly fell for it, and knew it belonged back at the DMA, where it could communicate these local histories to visitors in perpetuity.

Close-up of Freedman’s Field

After that visit, we sought to learn more about the history of Freedman’s Town and its eventual demolition, beautifully explored in scholarship collected in SP/N’s exhibition catalogue, and in a semi-permanent exhibit at Fair Park’s African American Museum. Meanwhile, our collections team got to work learning how to care for such an installation, meeting with those who had cared for it before—including friends Ron Siebler and Nancy Rebal, who had shown the work in a memorial exhibition Rebal organized for Hicks in Corsicana in 2015—and learning firsthand about the myriad of decisions Hicks made in creating the work. As you’ll see, Freedman’s Field is unlike most works you’ll find in an art collection. The typical rules of cataloging just don’t apply here. It is better conceived as an archaeological dig. And Erick Backer, Preparator; Katie Province, Registrar; and Fran Baas, Objects Conservator, bravely undertook the challenge to apply their best professional standards to its care.

Interim Chief Conservator Fran Baas carefully treating the artwork.

The word curator comes from the Latin curare, “to care,” and this work is all about care: the care Hicks showed for the city of Dallas, the care the many local artists we met with showed to Hicks, and our care in honoring those relationships that predated us. My hope is that this work’s testament to that loving care might encourage us to pay closer attention to the world around us so that we can hear the stories it yearns to tell us.

Dr. Anna Katherine Brodbeck is the Hoffman Family Senior Curator of Contemporary Art at the DMA.

Click here to dive deeper into this piece by watching an excerpt from Ron Siebler’s film Remembering Tracy Hicks.

Artist Interview: Do Ho Suh

Earlier this year, Dr. Vivian Li, the Lupe Murchison Curator of Contemporary Art, had the opportunity to interview artist Do Ho Suh, whose work is featured in the exhibition For a Dreamer of Houses. Read excerpts from the interview below about his inspiration and how the pandemic has changed his practice, and click here to read the full interview.

Do Ho Suh, Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea, 2016, Polyester fabric and stainless steel, 117 × 102 × 65 in. (2 m 97.18 cm × 2 m 59.08 cm × 1 m 65.1 cm), Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019.15. Photo by John Smith.

VL: Many of your fabric pieces are replicas of a specific place you once called home and are often described as such with the precise address as the title. Can you describe the place that inspired Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea (2016), and why you selected to make a fabric replica of this particular structure?

DHS: Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea is an area of my parents’ home in Seoul, where I grew up. It’s a traditional han ok (Korean house)—a 70s copy of the one King Sunjo (1790–1834) built in the early-nineteenth century because he wanted to experience the life of ordinary people. I’ve continued to stay there whenever I’m back in Seoul so it’s the site of decades of memories for me. I think of the fabric architecture works as, in a sense, an act of shedding skin, slipping out of my clothes and packing them quietly away to unfold elsewhere.

The Hub sculptures are transitional or in-between spaces—corridors, passages, entryways. This one is an area between the bathroom and the living room/bedroom. Traditional Korean architecture is much more porous than in the West—there is less rigidity to the separation of the rooms, and the outside world is much more integrated: sounds travel; doors or windows become walls; you feel the temperature of your external surroundings keenly; the spaces themselves are reconfigured throughout the day and night. That porous quality all feeds into this sculpture and it’s partly why the translucence of the fabric is key. I began using fabric partly because of its affinities with those qualities in Korean architecture and Hub, 260-10 Sungbook-dong is probably the closest one of my Hubs comes to the original structure, because three of the walls are doors and windows covered in rice paper. The transition feels very natural.

Do Ho Suh, Seoul Home/Seoul Home/Kanazawa Home/Beijing Home/Pohang Home/Gwangju Home, 2012-present, Silk and stainless steel tubes, 575 x 285 x 156.5 inches / 1460.5 x 723.9 x 397.5 cm, Installation view, Do Ho Suh: Perfect Home, 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2012–2013. © Do Ho Suh. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul.

VL: How has the pandemic changed your studio practice, or is there anything you have become more focused on lately?

DHS: I keep thinking about what it means if you don’t have somewhere to call home. I first started to consider what home meant when I left Korea and I’ve never stopped, so for me it was something that came into focus when it was challenged. So many people must be struggling with that now. Also how borders—physical, political, social—impact our behaviors. I’m a transnational artist and I’ve benefited from notions of a borderless world, the fluid and constantly moving nature of the cultural sector. What happens to that now? They’re such complex areas though. I’m also thinking a lot about what’s happened in the wake of globalization, and to an extent neoliberalism—all the lost optimism, all the ambitions to build new walls and borders.

In terms of my studio practice, I’m inevitably doing less work on larger-scale physical projects and a lot of thinking around philosophical concerns. Even the fact that I’m spending a lot of time cleaning my apartment – I’m touching and seeing it in different ways and that’s really interesting to me. Looking anew at the objects you unthinkingly interact with on a daily basis. I’m also working a lot with my two young daughters on an ongoing project, but it’s really taken shape during the lockdown. We’ve been building a lot with Legos and whole fantastical worlds of modelling clay. I’m interested in what happens to our psychic space as we age, how the child’s mind works and what imaginative play communicates about how we frame our worlds, how we try and impose order on the chaos and how much better children are at navigating that chaos.


See this work in For a Dreamer of Houses, now open to the public at the Dallas Museum of Art through July 4, 2021. Plan your visit to the DMA and reserve your tickets here.

Reopening Excitement!

Our recent reopening has stirred up great excitement, especially among DMA staff, who are thrilled to be able to welcome you back to your city’s museum! We asked a group of DMA curators to tell us what they are most excited about as the Dallas Museum of Art opens its doors. Read what they had to say.

Dr. Heather Ecker, The Marguerite S. Hoffman and Thomas W. Lentz Curator of Islamic and Medieval Art
One of the joys of working with the Keir Collection is making new discoveries—sitting down with a manuscript or picking up a work in ceramic always feels like an adventure. A scribal note or a design can speak quite directly across geography and time.

Tile, unknown artist, 15th century, red clay with painting in blue and turquoise on a white slip under a transparent glaze, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.893.1

Julien Domercq, The Lillian and James H. Clark Assistant Curator of European Art
I am thrilled to be able to see real works of art again, and for visitors to be able to enjoy them firsthand in the galleries. There’s just nothing like being able to lose yourself in looking closely at brushstrokes of paint.

Frans Hals, Portrait of Pieter Jacobsz. Olycan, 1629–30, oil on panel, Private Collection, Courtesy of David Koetser Gallery, Zurich

Dr. Vivian Li, The Lupe Murchison Curator of Contemporary Art
I love seeing once again Miguel Covarrubias’s Genesis, The Gift of Life, an iconic Museum landmark that has become woven into the fabric of Dallas. Countless families, friends, and young ladies in their spectacular quinceañera dresses have captured beautiful memories in front of it.

Miguel Covarrubias, Genesis, The Gift of Life, about 1954, tempera on cardboard laid on panel, Dallas Museum of Art, gift of Jorge Baldor, 2019.60

Dr. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art
I am excited to return to For a Dreamer of Houses, an exhibition that was installed but never opened to the public before August 14. The Rubber Pencil Devil installation has a three-hour video, so that’s where I hang out during breaks.

Alex Da Corte, Rubber Pencil Devil, 2018, glass, aluminum, vinyl, velvet, neon, Plexiglas, folding chairs, monitors, high-res digital video, color, and sound, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019.59. Photo by John Smith.

Dr. Nicole R. Myers, The Barbara Thomas Lemmon Senior Curator of European Art
Among the things I’ve missed most are seeing and hearing visitors’ excitement as they explore the galleries and linger in front of objects that speak to them. It’s great to see the Museum come back to life.

Plan your visit to enjoy all of these wonderful art experiences and more! Reserve your timed tickets here. We can’t wait to see you back at the Museum!

Unnecessary Embarrassment: Yasuo Kuniyoshi’s Letters

Among the treasures in the DMA Archives are four letters exchanged in the summer of 1941 between artist Yasuo Kuniyoshi and the Director of the Dallas Museum of Fine Arts, Richard Foster Howard. For more than 40 years, these letters were the only works by Kuniyoshi housed in the DMA. Since 1988, Museum visitors have become acquainted with him through Bather with Cigarette. This star of the American art collection is currently on view in My|gration in the Center for Creative Connections.

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, © Estate of Yasuo Kuniyoshi/Licensed by VAGA, New York, NY

Displayed alongside works by artists and designers including Hans Hoffman, Peter Muller-Munk, and An-My Lê, Kuniyoshi’s painting represents one of the 14 immigration stories shared in the exhibition’s “Arrivals” section. The 1941 correspondence between the 51-year-old artist and the DMFA director sheds light on the challenges and discrimination Kuniyoshi experienced in the US.

Yasuo Kuniyoshi, from the Archives of American Art, photographed by Peter A. Juley & Son

Kuniyoshi arrived alone in Spokane, Washington, as a teenager in 1906. Although he initially planned to stay only a few years, by 1910 his artistic talents had led him to New York City. There he enrolled in a series of schools and entered the circle of leading figures in American art.

Bather with Cigarette was completed in 1924—the same year Congress effectively banned immigration from Asian countries. Kuniyoshi had already witnessed the government’s discriminatory policies. His marriage to fellow artist Katherine Schmidt in 1919 caused her to lose her citizenship. In 1922 the Supreme Court ruled that Japanese people were not the same as “free white persons” and thus did not have the same rights to naturalization. 

Fast forward to the summer of 1941. Headlines about naval attacks and international conflict fueled racism and xenophobia in the US. Kuniyoshi, like many American artists, wanted to travel the country in search of new inspiration. Unlike most of his peers, he could not embark on a trip without being hyper-aware that his appearance and national origins could be perceived as threatening. To mitigate the risk of police detention, he asked regional arts leaders to provide letters verifying his profession. The DMA Archives holds Kuniyoshi’s initial request to Howard (May 22, 1941), the director’s two-part response (here and here, May 26, 1941), and the artist’s thank you (mailed mid-journey from Colorado Springs, July 9, 1941).

Yasuo Kuniyoshi’s original letter to Richard Foster Howard.
Click HERE to expand.

In December 1941, Imperial Japan attacked Pearl Harbor and the US declared war. Kuniyoshi was not among the 120,000 people of Japanese heritage who were forcibly moved to internment camps in early 1942. He was, however, declared an “enemy alien.” Federal authorities impounded his bank account and confiscated his binoculars and camera as potential spy equipment. Despite this maltreatment, he spent the war years working for the federal government as a graphic artist and radio broadcaster (valued for his fluency in Japanese). Following WWII, Kuniyoshi became the first living artist to be honored with a retrospective at the Whitney Museum of American Art in 1948. Although he had identified as an American and lived in the US for over 40 years, immigration laws prevented him from becoming an American citizen before his death in 1953.

Emily Schiller is the Head of Interpretation at the DMA.


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