Archive for the 'Guest Blog Post' Category

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.

Artist Interview: Chase Kahwinhut Earles

After recently acquiring a piece of Caddo pottery by Chase Kahwinhut Earles, we reached out to the artist at his home in Oklahoma to hear about his practice and process. Listen to his introductory message and read his Q&A conversation with Dr. Michelle Rich,The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas at the DMA.

Chase: Kuha-ahat [Hello]. Kumbahkeehah Kahwinhut [My name is Kahwinhut]. Hello my name is Chase Kahwinhut Earles, and I’m a member of the Caddo Nation. I make traditional pottery and also contemporary pieces incorporating modern interpretations of our culture.

Chase Kahwinhut Earles, 2019. Photo by Travis Caperton, University of Oklahoma

Michelle: Can you describe the process by which you make your pottery?

Chase: I make pottery the ancestral, or traditional, Caddo way. I dig the clay myself from the banks of different rivers, mostly the Red River between Texas and Oklahoma. I process it to dry it and break it down into usable material. I collect and crush freshwater mussel shell to mix with the clay as a temper, which helps strengthen it so the vessels survive through the pit-firing process. All of my pieces are hand built using the coil method. I don’t use a wheel. After a piece dries, I burnish it with smooth stones to make it shiny. There’s no glaze. Then I pit fire the vessels. The final step is to engrave the design into the carbonized surface of the pots.

Photo by Travis Caperton, University of Oklahoma

Michelle: Pit firing is very different from kiln firing. Will you talk about that a little bit?

Chase: I fire my pots in a traditional pit fire. This is different than the modern kiln, which slowly heats the pottery until it gets to high temperatures. Our pit firing is started by stacking sticks and lighting an open ground fire. First, we heat the pottery near the fire to drive out moisture, and then they go right into the fire. I’ll add more wood, and the larger fire will get to a high enough temperature to vitrify the clay. You can see the pots start glowing! Sometimes things can go wrong, and if a pot gets overfired it will become fragile or might even spawl or crack. Large pieces, such as the Alligator Gar, can be fired in sections or with multiple fires.

Michelle: What inspired you to make Caddo pottery?

Chase: My parents took us to the Southwest when we were young. I loved and was inspired by the beautiful Pueblo pottery and wanted to make those beautiful pots. And I did learn how, but realized there was something not right about that, and I came to understand the difference between cultural appreciation and cultural appropriation. That pointed me in the right direction—to look at my own tribe. I mean, why wouldn’t I have? But I didn’t expect to find anything. Lo and behold, we have one of the biggest pottery traditions in the country, but not many people know about it! Then my purpose was obvious. I dove in, obsessively learning everything about our tribe, our pottery tradition, and our techniques. Jeri Redcorn, a Caddo elder who revived Caddo pottery, helped me get started.

Photo by Travis Caperton, University of Oklahoma

Michelle: The words “contemporary” and “traditional” carry a lot of weight when describing Indigenous arts made in a customary fashion. Where do you situate your work?

Chase: The question of contemporary and traditional is complicated with Native American art, where these words are used to describe the difference between something that’s made in a modern manner or something that’s made exactly how we’ve made things forever. My work up to this point has been primarily trying to save our ancestral and traditional ways of making pottery, so it’s a very ancient style, method, and technique. The present-day definition of “contemporary” is that you’re a living artist. So, in fact, we can be contemporary and traditional at the same time—I’m a living artist producing fine art. But I thought it was important to learn and reestablish our ancestral way in order to have a base to move forward, evolve our work, contribute to Caddo culture, and develop a modern narrative.

Chase Kahwinhut Earles, Batah Kuhuh Alligator Gar Fish Effigy Bottle, 2018, Caddo, ceramic, Dallas Museum of Art, The Otis and Velma Davis Dozier Fund, 2020.9

Michelle: What does it mean to you to have the DMA acquire your work?

Chase: It means the world to me. When I set out to make pottery and art, specifically our tribal art, it was clear that not many people knew about the Caddo, even though we were once a huge, great society. And no one knew about the pottery, and the tradition kind of got forgotten. Having my work in institutions and museums like this is the ultimate goal—to share our beautiful artistic traditions with people and educate them about our identity, our culture, and our continued presence. So, on the scale of importance, it’s up there at the top!

Also, I can’t thank the DMA enough, especially for this opportunity. It goes a long way to educate people about the importance of Native American artwork in the context of American art. I applaud that effort and am very thankful for it.

Connections Across Collections: C3 Visiting Artists

The DMA’s C3 Visiting Artist Project offers opportunities for North Texas–based artists to create an interactive installation and facilitate programming around a theme related to the works in the C3 Gallery. Over the years, the project has showcased the talents of artists from many backgrounds and with various creative approaches and missions. We asked five former C3 Visiting Artists to respond to works in the DMA’s collection that resonate with them. Here’s what they had to say:

xtine burrough & Sabrina Starnaman 
Former C3 Visiting Artists, October–December 2017
Find out about their work through their project page and get to know them through their DMA interview.

Eyedazzler textile, Arizona, Navajo (Diné), 1880–90, wool with indigo and aniline dyes, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift, 2016.19.2.FA
 

Why they chose this work: Our artistic practice investigates the importance of work, especially work by women not credited to the maker. Women are the weavers in many cultures. The Navajo culture’s creation myth tells of Spider Woman, who taught people how to construct looms from the elements: sky, earth, sun, lightning, and crystals. We selected the eyedazzler textile to celebrate women’s work in textile technologies. 

Timothy Harding 
Former C3 Visiting Artist, JanuaryApril 2018
Find out about his work through his project page and get to know him through his DMA interview.

Charles Demuth, Buildings, 1930–31, tempera and plumbago on composition board, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds/City of Dallas (by exchange) in honor of Dr. Steven A. Nash, 1988.21

Why he chose this work: I first encountered the work of Charles Demuth during my undergraduate studies in painting. Seeing how he rendered architectural subject matter with collapsed space and reduced elements helped me think differently about working through problems of paint and form.

Lisa Huffaker 
Former C3 Visiting Artist, JulySeptember 2017 
Find out about her work through her project page and get to know her through her DMA interview.

David McManaway, Jomo/Jomo #14, 1992, mixed media, Dallas Museum of Art, Texas Artists Fund, 1992.523

Why she chose this work: David McManaway’s Jomo/Jomo #14 houses talismanic objects in a shrine-like Wunderkammer that resonates with exponential, not just additive, significance. Likewise, I aspire to exceed the “sum of parts” as I bring fragments of the world into my art and writing.

Lauren Cross 
Former C3 Visiting Artist, September–December 2018
Find out about her work through her project page and get to know her through her DMA interview.

Annette Lawrence, Anna Cooper Lawrence, 1997, acrylic on paper, Dallas Museum of Art, gift of Mr. and Mrs. Bryant M. Hanley, Jr., 1998.76, © Annette Lawrence

Why she chose this work: When I was first introduced to the work of Annette Lawrence, I saw so much of the work that I do reflected: the use of brown paper and the connection to personal narrative. Her work Anna Cooper Lawrence is not only related in its use of material but also in her use of family history, a key element in my own practice. My work at the DMA, Assembly, embodies all these qualities with visitors in its use of brown paper and its connection to the familiar among us. 

Black Birders on What Humans Can Learn from Birds

Summer is a popular time for birding. Binoculars optional—all you really need to do is look and listen and you’ll see that birds are everywhere: working, singing, crafting. However, some birders know that they have to consider their own safety and security while viewing birds, not because of the dangers of wildlife but because of racism. With the recent viral video of the false police report made by a white woman against an African American man birding in Central Park, birding has become part of the national dialogue around race. Within 48 hours of the birder’s video post, which took place on the same day that George Floyd was murdered in Minneapolis, an enterprising group of nature enthusiasts, ecologists, and science educators joined forces to create the first ever Black Birders Week to bring awareness to issues of race and the outdoors. I spoke to three organizers of the group about the video, birds, art, and more.

From left: Nicole Jackson, Kassandra Ford, Ashley Gary

Nicole Jackson, Program Coordinator at The Ohio State University’s School of Environment and Natural Resources, told me that such incidents of racism directed at Black birders and outdoor enthusiasts “is something that happens more often than people realize.” Kassandra Ford, a PhD candidate in Ecology and Evolutionary Biology at the University of Louisiana at Lafayette, echoed this, saying, “I wish I could say I was surprised by [the video], but I wasn’t at all.” Ashley Gary, a freelance Science Communicator also known as The Wildlife Host, remarked, “It is exhausting to be a Black person because there are so many things you have to worry about.”

Although Black Birders Week was formed to address racial inequities, its aim is also to highlight the positive impacts of African Americans in birding, environmental work, and the STEM fields. I decided to ask these three founding members of Black Birders Week to weigh in on some works in the DMA’s collection depicting birds, since birds’ relationship to human society is nothing new, and in fact goes back millennia.

Pendant: bird-man, Tairona, 1200–1500, Tumbaga, Dallas Museum of Art, the Nora and John Wise Collection, bequest of Nora Wise, 1989.W.474

The first piece, a bird-man gold pendant, would have been worn around the neck by elite men in what is present-day Colombia. The piece may reflect the Tairona belief that religious leaders could temporarily leave their human form to embody animals and gain knowledge from them. This pendant shows a bird of prey in somewhat of a dual human-animal form as the bird wears earrings and perhaps a garment. I asked Kassandra for her insights on birds of prey. “Birds are just,” Kassandra then paused, “excuse my language—but they’re badass. They’re intense, they’re ferocious, especially birds of prey. They have an aura of pride and power in the way that they hold themselves, in the way that they dive-bomb prey. That kind of attitude is like a warrior.” Indeed the piece may very well have been worn with that same aplomb.

Dance headdress, Igbo peoples, mid-20th century, wood, paint, metal, and fiber, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1975.27.McD

This dance headdress by an artist of the Igbo of present-day southeastern Nigeria would have been worn in dynamic display during a masquerade. The carving depicts a seat for the spirits, of which the birds may be indicative as messengers to the spirit world. Ashley found the bird figures in this piece to be observing the activity from all angles, suggesting omniscience. She compared it to Edgar Allan Poe’s infamous Raven, who silently watches and knows all, as the poem goes: “the fowl whose fiery eyes now burned into my bosom’s core.”

Double-spout strap-handle vessel depicting a falcon, Paracas, 500–400 BCE, ceramic and resin-suspended paint,
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.85

The double-spout vessel depicting a falcon is a funerary object from Peru’s Paracas peninsula. Many two-spouted vessels were musical devices that whistled when poured. Bird imagery is common in Paracas art, and music was also a crucial element of life, including in burial rituals, festivals, and ceremonial communications with ancestors. Since birds are among the most magisterial song makers in the animal kingdom, it seems fitting that a culture highly valuing music would also esteem an animal known for impressive sounds.

Bird calls play a major role in how birders learn to locate and learn about a bird’s life. Ashley noted that birds have the unique ability to sing two notes at once, since birds produce sounds from an organ called the syrinx, a two-sided voice box in their chest. According to author David Sibley, birds sing to communicate and mark territory. They can read their audience too, as they sing differently to mates than to rivals, and some species have over 200 songs in their repertoire. To find out more about bird behaviors, tune in to our Arts & Letters Live event with David Sibley, available now through July 28.

All three birders we interviewed spoke of the meditative aspect of birding, how it quiets the mind and fuels the spirit. The vast array of artistic depictions of birds, Nicole speculated, may reflect the dichotomy between the ubiquity of birds in our lives and their simultaneous mystery. “Birds are everywhere,” Nicole observed, “but there’s the dynamic that we don’t know everything about them. It’ll be a lifetime before you’re close to knowing everything about birds.” In a time when many people are aiming for social change, Nicole’s final observation struck me as a potent lesson to learn from the only surviving dinosaurs: “Birds are very resilient and very adaptable.” The intersection of nature and society also struck a note for me in one of Kassandra’s effusions about the pleasures of birding: “Birds can be unapologetically themselves without worrying about being judged.  We as humans can learn from them.”

Dr. Carolee Klimchock is a Program Manager for Arts & Letters Live at the DMA.

Break Bread, Break Borders: A Recipe and Reflection

We reached out to Break Bread, Break Borders, one of our community partners for the My|gration exhibition, and invited them to share a favorite recipe from their kitchen, as well as provide some background on their organization. Follow these steps to learn how to make a Syrian-style chicken kabsa dish, and find out more about this local nonprofit that “caters with a cause” in their message below.

Chicken Kabsa: Syrian Style (feeds 4 people)

Syrian Style Chicken Kabsa

Ingredients:

  1. 2 cups basmati rice
  2. 1 whole chicken cut into pieces or 4 thighs
  3. 1 medium size onion
  4. 5 pieces of minced garlic
  5. 1 green pepper
  6. 2 green chili peppers
  7. 1 cup grated carrots
  8. 1 cup tomato sauce
  9. Handful of raisins (can skip)
  10. Nuts (almonds) for decoration (can skip)

Spices and herbs:

  1. Salt
  2. Black pepper
  3. Juice of 1 lime
  4. 2 cinnamon sticks
  5. 2 bay leaves
  6. 3 cloves
  7. 5 cardamom pods
  8. 1 teaspoon of “7 Spices” mix
  9. 1 teaspoon kabsa spice mix
  10. 1 teaspoon ground ginger powder
  11. Parsley for garnish (optional)
BBBB Community Cooks Khuloud Sultan (image left), and Rania Alahmad (image right)

Preparation:

  1. Chop onions and pepper finely
  2. Add oil in pot
  3. Add onions first; when it turns a bit brown, add garlic
  4. Add the rest of the veggies and mix
  5. Add tomato sauce
  6. Add salt and all spices
  7. Lower heat and let it cook for about 5 minutes
  8. Add washed chicken pieces to the mix
  9. Mix for a little bit and then add water until chicken is covered
  10. Let it cook and boil until chicken is fully cooked
  11. Wash rice very well
  12. Put rice in a pot; add the chicken stock to the rice (for every cup of rice, add a cup and a half of the chicken stock)
  13. Let it boil and then lower heat under it
  14. Add some raisins to the rice 7-10 min before it’s fully cooked
  15. Don’t mix the raisins, only cover the rice and let it cook
  16. Bake chicken in the oven at 275 degrees for 15-20 minutes or until golden brown
  17. Roast nuts in pan until golden brown
  18. Before serving the rice, mix it lightly with a bit of ghee
  19. Serve rice in serving tray and add the chicken, nuts and minced parsley on top
  20. Enjoy!

BBBB Community Cook Rania Alahmad, serving her father’s recipe of Chicken Kabsa

June was first declared World Refugee Awareness Month in 2001. Since then, June has been a time to acknowledge the strength, courage, and perseverance of millions of refugees who live around the globe. By definition, a refugee is someone who fled his or her home and country owing to “a well-founded fear of persecution because of his/her race, religion, nationality, membership in a particular social group, or political opinion,” according to the United Nations 1951 Refugee Convention. Many refugees are in exile to escape the effects of natural or human-made disasters. These are the heroic journeys that inspired the show My|gration at the DMA, and our organization, Break Bread, Break Borders, is honored to be a participant in this community project.

Based in Dallas, Texas, Break Bread, Break Borders (BBBB) is a “catering with a cause” social enterprise, economically empowering women from war-torn countries by teaching them how to earn a living by honing their cooking and entrepreneurial skills. Professional chefs, restaurants, caterers, and culinary consultants mentor refugee women apprentices, who earn food service industry licenses and certifications. BBBB’s women also learn to share their powerful stories with diners, creating a unique cultural exchange.

Jin-Ya Huang founded Break Bread, Break Borders in 2017 to honor the legacy of her late mother—chef, restaurateur, and community leader Margaret Huang. Through food, culture, and powerful storytelling, we break bread with the community, breaking down borders at the same time.

BBBB has served more than 10,000 people, catering events for clients including the City of Dallas, Texas Women’s Foundation, George W. Bush Institute, Texas Lyceum, Toyota of North America, United Way of Metropolitan Dallas, Social Venture Partners-Dallas, and many more. We have been named among Dallas’s Top 50 Most Innovative Social Enterprises by Dallas Innovates. BBBB is part of a cohort of social enterprises at The Hunt Institute at Southern Methodist University. Airbnb International has featured BBBB as a social impact experience partner. Our founder Jin-Ya Huang was selected as a 2019 Food Leader of the Year by Slow Food USA. In 2020 Huang was selected for the prestigious Presidential Leadership Scholars Program, allowing her the chance to work with former presidents George W. Bush and Bill Clinton on community projects to create lasting social change.

Standing on the side of freedom, Break Bread, Break Borders proudly educates on the ideas of equity, anti-racism, and eradication of xenophobia. One bite at a time, we will continue to share the taste of hope, compassion, and transformation to the world. Enclosed here is a recipe from one of our BBBB Community Cooks, Rania Alahmad. Please enjoy her Chicken Kabsa Syrian Style with your families, neighbors, and loved ones. Happy cooking, y’all!

Jin-Ya Huang is the founder of Break Bread, Break Borders, a social enterprise developing a culinary training program to help refugee women from war-torn countries find food service job opportunities by sharing their storytelling through food and culture. She is a member of Orchid Giving Circle and a fellow of the 2020/21 Presidential Leadership Scholars Program.

Pride of Place: Dallas Artists Respond

It’s always fascinating to see which objects in the DMA’s collection artists are drawn to because it can be a window into what is on their mind and how they think about their own work. For the last three years, the DMA has partnered with the local arts nonprofit Arttitude to celebrate the work of LGBTQ+ visual and performing artists in Dallas through programs like State of the Arts and our annual Pride Block Party. Since we are unable to tour the galleries with local artists for Pride Month this year, we reached out to two artists who exhibited in Arttitude’s recent MariconX show and invited them to find and respond to an object in the DMA’s collection that resonates with their own work. Here is what they had to say: 

Armando Sebastián is a Dallas-based painter whose work draws on Mexican folk art and his own life experiences to explore themes of gender and identity. Sebastián describes his style as akin to magical realism, and he is particularly interested in referencing the traditional Mexican folk art genre of ex voto paintings depicting divine interventions into human misfortunes.

Here are a few recent paintings from Armando Sebastián. You can see more of his work on his website and on Instagram

Images: Armando Sebastián, Los Amados / Live in Harmony, 2020; I know who I am, 2020; The Dreamers, 2019

Sebastián chose the 18th-century painting Christ as Savior of the World (Salvator Mundi), reflecting:

Unknown artist, Christ as Savior of the World (Salvator Mundi), late 18th century, oil on canvas, Dallas Museum of Art, The Cleofas and Celia de la Garza Collection, gift of Mary de la Garza-Hanna and Virginia de la Garza and an anonymous donor, 1994.37.1

“The angels above are conspiring to the master plan on earth. The trinity holds flaming hearts, perhaps the interpretation of humankind. On the ground you see the depiction of evil, a beast eating a fruit. The ladder to the heavens is full of obstacles that makes it impossible for anyone to climb. I personally appreciate narrative in art, the possibility to convey complex ideas and hidden meanings through your work.” 

Olivia Peregrino is a Dallas-based photographer working in portraiture and documentary photography. She began her career as a photojournalist, and her work has expanded to include uplifting portraits of women and Latinx LGBTQ+ communities, event photography, and documentary filmmaking.

Here are a few recent photographs by Olivia Peregrino. To see more of her work, follow her on Instagram or visit her website.

This slideshow contains nudity.

Images: Olivia Peregrino, Omar, El Salvador, LGBT Immigrant, ongoing project, 2020; Rafael, Colombia, LGBT Immigrant, ongoing project, 2020; Wandel, Dominican Republic, LGBT Immigrant, ongoing project, 2020; Melissa, Natural Bodies, 2018

Olivia chose Robert Mapplethorpe’s 1981 photograph Ajitto, saying the following:

Robert Mapplethorpe, Ajitto, 1981, gelatin silver print, Dallas Museum of Art, General Acquisitions Fund, © The Estate of Robert Mapplethorpe. Used with permission, 1981.99

“Robert Mapplethorpe is one of my favorite artists for the beauty of his portraits and his mastery of light and composition. Ajitto’s portrait perfectly reflects Mapplethorpe’s recurring obsessions in his photographs. The representation of the human body through the female and male nude is a theme that I, as an artist, also seek to show in my portraits, but from a feminine and contemporary perspective.”

DSO x DMA: A European Art-Inspired Playlist

We asked Dallas Symphony Orchestra musicians to curate their own Spotify playlist that pairs music with artworks from our European collection. Hit play and take an immersive stroll through our virtual galleries to hear how each piece of music harmonizes with the art, and read deeper into each musician’s notes here:

Derick Baegert, The Descent from the Cross, about 1480-1490, oil on oak panel, Dallas Museum of Art, Marguerite and Robert Hoffman Fund in memory of Dr. William B. Jordan, 2018.14

Kari Kettering, Cello
Artwork: Derick Baegert, The Descent from the Cross
Track: Johann Sebastian Bach, St. Matthew Passion
I picked J. S. Bach’s St. Matthew Passion for this painting because it is a masterpiece of sacred music and to me nothing else more perfectly and divinely depicts the story of the crucifixion. The whole work is almost three hours long so if I had to pick one movement to accompany the painting it would be No.64, “Am Abend, da es kuhle war”. It occurs right after the Evangelist speaks of the scene depicted in the painting.

Giulio Cesare Procaccini, Ecce Homo, after 1615, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1969.16

Jenna Barghouti, Violin
Artwork: Giulio Cesare Procaccini, Ecce Homo
Track: Johann Sebastian Bach, Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio
Though written about a century after Procaccini’s Ecce Homo was brought to lifethe second movement of J.S. Bach’s Harpsichord Concerto No. 1 in D minor felt like the perfect setting for Procaccini’s work. The movement opens with an eerie, chromatic melody that is played in unison by the strings and the harpsichord. The dramatic opening almost illuminates the surroundings of Procaccini’s work; the looming figures surrounding Christ who portray indifference to his suffering. The short introduction paves the way for the glistening harpsichord sound to soar above the orchestra. The lone harpsichord embodies Christ’s heightened emotions. His suffering comes through in the highly embellished, yet despairing, solo harpsichord melody. The harpsichord draws the listeners in through the rest of the movement, just like Ecce Homo gradually reveals new details with each glance.

Jean Baptiste Marie Pierre, The Abduction of Europa, 1750, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 1989.133.FA

Ted Soluri, Principal Bassoon (Irene H. Wadel & Robert I. Atha, Jr. Chair)
Artwork: Jean Baptiste Marie Pierre, The Abduction of Europa
Track: Jean-Philippe Rameau, Zaïs, Prologue,: EntrActe
The Rococo Era of painting and music expands on the Baroque style with more color and lightness. The rococo French composer Jean-Phillipe Rameau’s music is a perfect pairing with the work. The music is light and energetic with wonderful colors in the orchestral writing.

Elisabeth Louise Vigée‑Lebrun, Portrait of Natalia Zakharovna Kolycheva, née Hitrovo, 1799, oil on canvas, Lent by the Michael L. Rosenberg Foundation, 32.2019.14

Willa Henigman, Associate Principal Oboe
Artwork: Elisabeth Louise Vigée-Lebrun, Portrait of Natalia Zakharovna Kolycheva, née Hitrovo
Track: Franz Joseph Haydn, Symphony in B flat, H.I No.85 -“La Reine”: 1. Adagio – Vivace
Since Vigée-Lebrun was Marie Antoinette’s portraitist, I have chosen one of Haydn’s “Paris” Symphonies, nicknamed “La Reine” (“The Queen”) after Marie Antoinette declared it her favorite of Haydn’s works. The first movement of the Symphony captures the grace of 18th-century society but also contains moments of drama, which I feel matches the elegance and rich colors of this portrait.

Joseph Mallord William Turner, Bonneville, Savoy, 1803, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Nancy Hamon in memory of Jake L. Hamon with additional donations from Mrs. Eugene D. McDermott, Mrs. James H. Clark, Mrs. Edward Marcus and the Leland Fikes Foundation, Inc., 1985.97.FA

Theodore Harvey, Associate Principal Cello (Holly & Tom Mayer Chair)
Artwork: Joseph Mallord William Turner, Bonneville, Savoy
Track: Edward Elgar, In the South, Op. 50
Even though Bonneville, Savoy is in France, “Savoy” is also the name of the royal family of Italy, and I was thinking about Englishmen being inspired by visits to continental Europe. Elgar’s In the South (Alassio) came to mind. We performed that at the DSO not too long ago.

Gustave Courbet, Fox in the Snow, 1860, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 1979.7.FA

Gregory Raden, Principal Clarinet (Mr. & Mrs. C. Thomas May, Jr. Chair)
Artwork: Gustave Courbet, Fox in the Snow
Track: Claude Debussy, String Quartet in G Minor, Op.10, L. 85: 2. Scherzo (Assez vif et bien rythmé)
I chose the second movement of Debussy’s String Quartet in G minor. In this movement, I could feel the coolness of the snowy landscape and the sense of the victorious fox with his prey after the chase.

Claude Monet, Valle Buona, Near Bordighera, 1884, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation, Incorporated, 1981.127

Christine Hwang, Viola
Artwork: Claude Monet, Valle Buona, Near Bordighera
Track: Hector Berlioz, Harold en Italie, Op. 16, H. 68: III. Sérénade d’un Montagnard des Abruzzes à sa maîtresse (Allegro assai – Allegretto)
When I saw this painting, Berlioz’s Harold in Italy came to mind (yay, solo viola ). I’m particularly reminded of the third movement, in which a mountaineer sings to his beloved in the Abruzzi region of Italy. It’s both rugged and picturesque at the same time.

Paul Gauguin, I Raro te Oviri (Under the Pandanus), 1891, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Adele R. Levy Fund, Inc., 1963.58.FA

Stephen Ahearn, Clarinet
Artwork: Paul Gauguin, I Raro te Oviri (Under the Pandanus)
Track: Claude Debussy, Suite bergamasque: I. Prelude
Debussy’s Suite Bergamasque is one of his most famous piano works, and was composed around the same time that Gauguin painted “I Raro te Oviri”. The first movement “Prelude” pairs wonderfully with the Gauguin as they both use a bold color pallet and clear, concise structure to create their respective scenes. Debussy’s Suite was beautifully orchestrated by André Caplet, a contemporary of Debussy’s, and the recording I’ve suggested was conducted by Jun Märkl. Märkl is a frequent guest conductor at the Dallas Symphony and I always look forward to working with him.

Edvard Munch, Thuringian Forest, 1904, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.15.McD

Maria Schleuning, Violin (Norma & Don Stone Chair)
Artwork: Edvard Munch, Thuringian Forest
Track: Gustav Mahler, Symphony No. 1 in D Major: 4. Stürmisch bewegt
I love the idea of Mahler Symphony No. 1 for this, but I would suggest the opening of the 4th movement. I think it expresses the deforestation and bleeding/anguish depicted in the painting perfectly.

Gerrit Rietveld, Zig-Zag Chair, 1932, stained pinewood, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2018.8.McD

George Nickson, Principal Percussion (Margie & William H. Seay Chair)
Artwork: Gerrit Rietveld, Zig-Zag Chair
Track: Igor Stravinsky, The Soldier’s Tale (Histoire du soldat)
This reminds me of the wit and fun angularity of Stravinsky’s music from this period. I think Soldier’s Tale fits this really well!

Globalization, Collaboration, and the Arts: Why PNC Proudly Presents Museum Exhibitions

In recent years, there has been an increased appetite for museum partnerships across the world. This unexpected effect of globalization has led to museums moving beyond loaning timeless pieces of art to museums loaning their staff, time, and resources to institutions halfway around the world. It has also resulted in more diverse, unique, and awe-inspiring art exhibitions and provided rich opportunities for the communities these institutions serve.

The Dallas Museum of Art’s current exhibition Dior: From Paris to the World is the perfect example of global partnership and close collaboration between institutions. The exhibition brought together three powerful organizations—the House of Dior, the Dallas Museum of Art, and the Denver Art Museum—to share resources and best practices and, ultimately, build the iconic exhibition.

The exhibition features more than a hundred haute couture dresses, as well as accessories, photographs, original sketches, runway videos, and other archival material that trace the history of the iconic fashion house. And without global collaboration, this iconic exhibition would not be bringing thousands of visitors together in Dallas to see Dior designs that have rarely been seen outside of Europe.

At PNC, we have a national legacy of strategically supporting arts and culture organizations where we live and work because we understand the significant contributions they offer a successful economy. We’re thrilled to support this exhibition as the presenting sponsor and help expand worldviews by bringing “Paris to the World.”

©2019 The PNC Financial Services Group, Inc. All rights reserved


Brendan McGuire is Regional President and Head of Corporate Banking for North Texas at PNC.

Being There: Serve as a DMA School Programs Volunteer!

If you love working with children, have a passion for art, and want to support Dallas students, we want you to join our team as a DMA School Programs volunteer! DMA docents lead tours in the Museum galleries, facilitating meaningful experiences for visitors of all ages. Go van Gogh® school outreach volunteers lead experiences in Dallas elementary classrooms that encourage students to look closely at works of art and express creativity through art-making activities. Applications to become a DMA docent or Go van Gogh volunteer for the 2019–2020 school year are now open. Click here to learn more and apply!

Curious about what it’s really like to serve as a DMA School Programs volunteer? A couple of our experienced volunteers have shared some of their reflections on the impact and rewards of their volunteer work.

Marilyn Willems, DMA Docent

Describe a typical day as a DMA docent. What does leading a program look like?
A typical day starts with a tinge of nervousness only to help build excitement and anticipation for the visitors that are coming. Camaraderie with fellow docents and sharing experiences set the day in motion. I enjoy thinking about and planning how I want to engage the visitors in hopes their “takeaway” encourages them to better understand and appreciate the art and discover how much fun they can experience at the Museum. That is what makes the time spent in training worth every minute.

Why do you like volunteering for the DMA? How has your volunteer service enriched your experience?
I feel I am being rewarded by sharing the art with visitors when my enthusiasm increases their enthusiasm for the art. 

Do you have a favorite memory from your time as a DMA docent?
I am amazed by the insightful thoughts expressed by our young visitors. Those are my most rewarding experiences. Being a docent has become a very important part of my life.

What would you tell someone who’s interested in serving as a docent volunteer?
If you have a passion for lifelong learning, get joy from being with a group who share this passion, and enjoy sharing it with others, you will be rewarded and feel you are making a valuable contribution.

Terei Khoury, Go van Gogh (GvG) Volunteer

Why do you like volunteering for the DMA? How has your volunteer service enriched your experience?
Not only are the GvG training programs and access to the staff instructive and enriching, but the programs make a visible impact in each classroom and venue we visit.  You can see and sense the enthusiasm as we introduce each program, and the hands-on experience is always a special plus as the students express themselves. I’m SO proud to say that over my four years in the program, I’ve touched the lives of at least 2,500 children and had the opportunity to tie STEAM (Science, Technology, Engineering, Art, and Math) together for them all!

Do you have a favorite memory from your time as a GvG volunteer?There’s just no question that our impact with the Color My World program is TREMENDOUS! When we work with special needs children, see the expressions on their faces, hold their hands as they play with clay, paint, and tools, and see their eyes light up with delight and pride as they experience their own artwork—there is no better feeling on earth knowing you’re making such a difference in the world!

What would you tell someone who’s interested in serving as a GvG volunteer?
GvG provides an outlet for one of the most meaningful interactions a volunteer in the arts can have. You touch so many minds and hearts with the generosity of BEING THERE. You aid the teachers and administrators by BEING THERE. You create enthusiasm and energy by BEING THERE. You make a difference by BEING THERE.

 

LGBTQ+ Equity in the Arts

On November 29 we are partnering with KERA’s Art & Seek for a night of performances and conversation with local arts leaders Erica Fellicella, Olivia Grace Murphy, and Jerome Larez (see their full bios here). The topic: how equitable and inclusive is the Dallas arts landscape for LGBTQ+ communities?

The night will kick off with each panelist sharing a selection of past work and then Art & Seek‘s Senior Arts Reporter-Producer Jerome Weeks will moderate a conversation. After the program, stick around for a meet and greet with the panelists to keep the conversation going.

I reached out to each panelist with a few questions about their lives, work, and what we can expect on November 29. Here’s what they had to say:

Erica Felicella, artist, consultant, organizer 

If you could take one work of art from the DMA home what would it be?

1982_21_o4

Cindy Sherman, Untitled, 1981, Chromogenic color print, Dallas Museum of Art, General Acquisitions Fund, 1982.21, © Cindy Sherman, courtesy of Metro Pictures, New York

Any advice for young artists out there?
It may be hard but don’t let that stop you.

What is something you are looking forward to?
The advancement of and changes in the art scene in the Dallas community.

You’ve lived in Dallas for about 20 years—how has the city changed in your perspective?
Growth across the board.

What are some words that you live by?
If you are not scared then you are not doing it right.

What is the last thing you Googled?
Performance art.

Is there a medium that you are interested in trying?
A bigger dive into New Media-based works with stronger technology components.

How do you recommend getting started with advocacy work?
Show up, listen, and go.

What is your hope for the LGBTQ+ communities of Dallas?
More opportunity given to shine and growth as a community.

Can you give us a sneak peek of what you will present at State of the Arts?
Think a community speaking through the voice of one.

Olivia Grace Murphy, Flexible Grey Theatre Company

If you could take one work of art from the DMA home what would it be?

dorothea-tanning

Dorothea Margaret Tanning, Jeux d’Enfants, 1942, lent by private collection

What is something you have to do before each show?
As an artist, I put a lot of importance on collaboration. I have to talk to and check in with every actor I share the stage with that night, whether it’s one other person or 100 other people.

What is something you are looking forward to?
Artistically, I am looking forward to announcing our next season for Flexible Grey Theatre Company. Personally, I am looking forward to the holidays because I make (in my humble opinion) the absolute greatest pumpkin pie.

Last play you read?
CHURCH by Young Jean Lee

What do you find most challenging or rewarding about theater as an artistic medium?
The most rewarding part is getting together with a group of fellow artists who you adore and trust completely to create something wonderful. I just recently had a profound experience working on STRAIGHT at Uptown Players. The people involved and the environment were so filled with trust and love. It was an unforgettable experience as an artist.

What are some words that you live by?
“To live is the rarest thing in the world. Most people exist, that is all.” –Oscar Wilde

What is the last thing you Googled?
“Cute snake pictures.”

How do you recommend getting started with advocacy work?
Find something you’re passionate about. Find work that needs to be done that speaks to you. And then don’t lose that spark.

What is your hope for the LGBTQ+ communities of Dallas?
I want to continue to normalize queer culture, queer art, queer people, and make our community part of the fabric of why Dallas is so great. Acceptance and visibility are key, and I feel like we’re making great strides.

Can you give us a sneak peek of what you will present at State of the Arts?
One of my passion projects with Flexible Grey Theatre Company has been the continued work on our original piece, BRIDGES: LGBTQ+ THEN & NOW, in which interviews from the older LGBTQ+ generation are told by queer millennial performers. The audience on November 29 will have a sneak peek of this show performed by some of my favorite actors in DFW.

Jerome Larez, Co-Founder and Board Chair, Arttitude

If you could take one work of art from the DMA home what would it be?

1997_137_o4

Terry Falke, Remnant of the Original Route 66, Arizona, 1995, Fujiflex print, Dallas Museum of Art, gift of The Afterimage Gallery, 1997.137, © Terry Falke

What drives new projects for you?
I hope to bring people together to share a profound experience and instill pride, belonging, interaction, and human connection.

What do you love most about teaching?
I love interacting with the students and watching them develop their art-making process.

What is something you are looking forward to?
I look forward to meeting new artists and listening to their artistic processes. I especially look forward to knowing their personal stories and why they make art.

What are some words that you live by?
Do the difficult things while they are easy and do the great things while they are small. A journey of a thousand miles must begin with a single step.

What is the last thing you Googled?
The Raising of Lazarus by Duccio

How do you recommend getting started with advocacy work?
Find a cause whose mission aligns with your beliefs and join. The biggest hurdle is getting involved.

What is your hope for the LGBTQ+ communities of Dallas?
My hope for the LGBTQIA community of Dallas is to build greater solidarity in our voices. Too many of us are fighting the battle for equality with little support. I want to see organizations and individuals of multiple backgrounds working together.

What, if anything, is missing from the arts in Dallas?
For the most part, diversity, access, and inclusivity are missing. Dallas has many creative people and art should not be an afterthought because it is who we are. Art has an extraordinary power to transform attitudes, behaviors, and perceptions, especially when art is in places that are accessible to everyone.

Can you give us a sneak peek of what you will present at State of the Arts?
We will have a Day of the Dead fashion show with artwork that we presented in past shows from our MariconX program.

Jessie Carillo is Manager of Adult Programs at the DMA.


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