Archive for the 'Decorative Art and Design' Category

Some Assembly Required

Have you ever wandered through the galleries at the DMA and thought to yourself, “Hmm, I wonder how they got this huge sculpture up those steps?” or “Wow! I bet it was really hard to hang that giant painting!” If you have, this post is for you! In one of the DMA’s newest installations, Women + Design: New Works, there are several pieces that required significant effort on the part of the DMA’s Collections team to install. Check out these behind-the-scenes photos and fun facts from the installation process, and visit the Museum to see these works in person—and for FREE—now through Sunday, February 17, 2019, in the Mary Noel and Bill Lamont Gallery.

Iris 3Objects Conservator Fran Baas adjusts the laser-cut polyester lace on Iris van Herpen’s Voltage Dress.

Najla 1A team of preparators works on lowering the two pieces of Najla El Zein’s Seduction onto the platform. Each piece of the sculpture weighs approximately 1,500 pounds and needs to be moved with a gantry crane. The lower stone was placed first, and then the upper stone had to be carefully lowered onto it.

Mobile 1Fran Baas, Lance Lander, and Mike Hill review the instructions for assembling Faye Toogood’s Tools for Life Mobile 2. Because the components of the mobile are heavy, the team had to know exactly what to do to minimize unnecessary handling.

Mobile 2Mike Hill and John Lendvay work to assemble Tools for Life Mobile 2 as it hangs from the ceiling.

DougDoug Velek takes measurements for the two pieces of jewelry by Katie Collins. Prior to installing the work, the preparators made the wedges and lifts used to display the jewelry in the exhibition. After confirming that the necklaces were centered on the wedge, preparators used pins to secure them in place.

SS and RSCurator Sarah Schleuning and preparator Russell Sublette discuss the placement of the three stools by Faye Toogood.

Katie Province is an Assistant Registrar for Collections and Exhibitions at the DMA.

How Lovely Are Thy Branches

I eventually settled on a Christmas tree as a central motif for my design. The tree… was profusely decorated with gifts, baubles and tinsel adorning the fronds. – Harold Holdway

"Regimental Oak" shape dinner plate with "Christmas Tree" pattern

Maker: W. T. Copeland & Sons, Designer: Harold Holdway, “Regimental Oak” shape dinner plate with “Christmas Tree” pattern, designed 1938, earthenware, enamel, transfer-printed, enameled, Dallas Museum of Art, gift of Stephen Harrison in honor of George Roland, 1997.181

Many of us are familiar with this festive design that has graced our holiday tables for almost eight decades, but do you know the story behind this cheery tree? The image was born in 1938 in Stoke-on-Trent, a charming city in Staffordshire, England known for its pottery industry. Sydney Thompson, the only U.S. based agent for Spode (Copeland & Thompson Inc.) was visiting the factory in hopes of finding a new design for the holiday season. Uninspired by the current seasonal sketches, Harold Holdway, a Spode designer was tasked with producing something truly magical. Holdway’s original design did not include presents until Thompson let him in on a little secret, “in America Christmas gifts, wrapped in gaily-coloured paper and tied with ribbon, were placed at the foot of the tree,” he said. Spode continued to produce Holdway’s iconic design with slight variations until 2009 and it can still be found in stores today!

Warmest thoughts and best wishes for a wonderful holiday and a very happy new year. We hope your day is merry and bright! – Dallas Museum of Art 

 

 

Last Call!

It’s last call for Shaken, Stirred, Styled: The Art of the Cocktail at the DMA! Don’t miss this spirited exhibition full of various vessels and accessories for creating and knocking back cocktails in style.

Grand Prize punch bowl on stand, Libbey Glass Company (manufacturer), c. 1905, cut glass, Dallas Museum of Art, 20th-Century Design Fund by exchange, 1997.140.a-b

On display in the foyer, the glittering cut-glass Grand Prize punch bowl is designed for drinking at home with friends. Punch bowls made the perfect over-the-top accessory for late 19th- to early 20th-century parties, and would’ve held a concoction of spirits, citrus juices, spices, sugar, and water known as “punch.” Providing an impressive centerpiece to a gathering, punch bowls allowed hosts to serve and replenish drinks from one bowl rather than continuously creating individual cocktails.

Silver Style cocktail shaker, Karl Emmanuel Martin (Kem) Weber (designer), Friedman Silver Company (manufacturer), designed 1928, silverplate and rosewood, Dallas Museum of Art, gift of the Decorative Arts Guild of North Texas’ 1994 Midwest Trip, 1994.52.a-c

Cocktails grew in popularity well into the 20th century, but during Prohibition (1920-33), manufacturers of cocktail wares avoided the word “cocktail” in lieu of “beverage” in advertisements. Cocktail shakers like the Silver Style cocktail shaker were often disguised as coffee- or teapots, discreetly hiding their function. But shakers like this rooster-shaped cocktail shaker barely attempt to hide its intent. As American journalist H. L. Mencken said, “the business of evading Prohibition and making a mock of it has ceased to wear any aspects of crime, and has become a sort of national sport.” The rooster cocktail set seems to mockingly crow out an invitation for revelers to raise a glass!

Bottoms Up cocktail tumblers, McKee Glass Company (maker), c. 1928, pressed glass, Dallas Museum of Art, the Patsy Lacy Griffith Collection, bequest of Patsy Lacy Griffith, 2001.163.2

If you’re in the mood for something a bit bawdy, look for the Bottoms Up cocktail tumblers, which are anything but discreet. The original design featured nude ladies with legs spread apart, but that was eventually deemed too risqué, so the design was modified to this slightly less scandalous version. When using these cups, the only option is to drink it or hold a full cup, as the design does not allow the drinker to set down anything except an upside-down empty glass.

Normandie pattern beverage mixer with rod, Morgantown Glassware Guild (manufacturer), designed c. 1955, blown glass, Dallas Museum of Art, 20th-Century Design Fund 1995.176.a-b

For a retro throwback to the suburban cocktail party, check out the Normandie pattern beverage mixer, used by hosts eager to show their neighborly hospitality by mixing up drinks, Mad Men style. During the 1960s, pitchers or mixers eclipsed shakers due to the popularity of stirred cocktails, most notably gin or vodka martinis.

Bar tools, San Lorenzo (manufacturer), Lella Vignelli (designer), Massimo Vignelli (designer), Milan, Italy, introduced 1972, silver, Dallas Museum of Art, The Jewel Stern American Silver Collection, Decorative Arts Fund, 2002.29.78.1–4

Don’t leave without checking out the more recent cocktail wares, particularly the sleek lines of these bar tools, whose chic design and smooth, ultramodern lines were described as “the most elegant Christmas gift of Christmas 1972,” and were available only at Cartier in New York.

Come to the DMA for one last toast to cocktails before this exhibition closes on November 19!

Heather Bowling is the Digital Collections Content Coordinator for Decorative Arts and Design and Classical Art at the DMA.

You’re Invited

On September 21, the DMA will host a special Decorative Arts Symposium, and you’re invited! The morning of the symposium will begin with coffee, breakfast bites, and stimulating conversation until attendees sojourn into Horchow Auditorium for a delightful round of renowned speakers.

The Decorative Arts Symposium features garden designer, author, television host, and conservationist P. Allen SmithJohn Hays, Deputy Chairman of Christie’s America and specialist in American Furniture and Decorative Arts; and Ann Pailthorp, Farrow & Ball’s leader of the North American Colour Consultancy Program for British craftsmen in paint and paper.
uncrat
At the culmination of all the speaker’s presentations, guests are invited to attend an intimate book signing. Publications by the speakers will be available onsite the day of the symposium in case you don’t own them yet!

It’s not too late to secure you tickets for this enchanting morning – after all, how often do you get to listen to speakers of this caliber in one room together? http://bit.ly/DMADecArtsSymposium 

Off the Wall: A New Experience

What do David Bowie, James Bond, The Karate Kid, Bon Jovi, and dragons have in common? They all served as inspiration for our newest program, Off the Wall.

This spring and summer, the Adult Programming team spent many hours brainstorming themes, program ideas, and the best format for a new evening event. We wanted to be playful in our approach, making sure everyone would have a fun and unexpected experience—thus Off the Wall was born.

From 5:00 to 9:00 p.m. on the second Thursday of each month, Off the Wall will offer a unique way to explore our collection with a pop culture twist. We will launch Off the Wall tomorrow with an exploration of space, astronomy, and the 60s with our take on Space Oddity.

Each member of the team brought her own area of geeky pop culture knowledge to the table, for example, but not limited to, 80s TV, movies, and music (Stacey); movies and all things sci-fi and fantasy (Jessie); Harry Potter, Game of Thrones, and over the top action movies (Katie); and all things 90s with a specialty in rap from the early 2000s (Madeleine).

So stop by and geek out with us, revel in the pop culture madness with us, and boldly go on this new adventure in the DMA collection with us.

October 13: Space Oddity 

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, 1986.8.a-b, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY 

November 10: Gogh Your Own Way 

Vincent van Gogh, Sheaves of Wheat, July 1890, Oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.80

December 8: Winter Is Coming

Finial: Dragon head, 11th–14th century, Bronze, Dallas Museum of Art, Dallas Art Association Purchase, 1963.24

Finial: dragon head, Iran, 11th–14th century, bronze, Dallas Museum of Art, Dallas Art Association Purchase, 1963.24

January 12: Plot Twist

Thinking Bodhisattva, Asian, 4th-6th century C.E., terracotta, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and General Acquisitions Fund, 2010.17

Thinking Bodhisattva, Afghanistan, 4th-6th century C.E., terracotta, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and General Acquisitions Fund, 2010.17

February 9: Shot Through the Heart

Yinka Shonibare, M.B.E., A Masked Ball (Un ballo mascherd), 2004, high-definition digital video, DMA/amfAR Benefit Auction Fund, 2008.26

Yinka Shonibare, M.B.E., A Masked Ball (Un ballo mascherd), 2004, high-definition digital video, DMA/amfAR Benefit Auction Fund, 2008.26, (c) Yinka Shonibare

March 9: Et Tu, Brute?

Ceremonial Knife (Metal Inlaid Grip), African, 19th-20th century, wood, steel, nickel-silver, Dallas Museum of Art, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.79

Ceremonial knife, Democratic Republic of the Congo, 19th-20th century, wood, steel, and nickel-silver, Dallas Museum of Art, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.79

April 13: Shaken, Not Stirred

William Waldo Dodge, Jr., “Skyscraper” cocktail shaker with cups, c. 1928-1931, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

Skyscraper cocktail shaker with cups, William Waldo Dodge, Jr., designer, c. 1928-31, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

May 11: Wax On, Wax Off

Wraparound skirt, (kain panjang) [pointed-ends cloud motif (megamenlang), Indonesia: Java, c. 1910, Cotton, commercial dye (?), Textile Purchase Fund, 1991.58

Wraparound skirt (kain panjang): cloud design (megamenlang), Indonesia, Java, c. 1910, cotton and commercial dye (?), Textile Purchase Fund, 1991.58

June 8: Make It Work!   

Pierre-Auguste Renoir, c. 1867-1868, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.59

Pierre-Auguste Renoir, Lise Sewing, c. 1867-68, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.59

 

Stacey Lizotte is Head of Adult Programming and Multimedia Services at the DMA.

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.

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Emeralds of the Collection

This St. Patrick’s Day we aren’t crossing the pond to celebrate with the Irish as the DMA is home to a number of works created by artists who have called the Emerald Isle home. Wishing everyone a happy St. Patrick’s Day filled with the luck of the Irish, and some of their artistic talent too.

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


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