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Second Annual BooksmART Festival

Published May 22, 2012 Museum Insight 1 Comment
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Last year’s BooksmART Festival was such a success that we’ve been counting down the days until June 9th.  That’s when the second annual BooksmART Festival will be held at the DMA.  Festivities will include readings and presentations by authors, demonstrations led by illustrators, Scrabble games in the galleries, creature animations in the Tech Lab, and of course, tours of the collection.

The BooksmART Festival line-up was announced last week, and includes authors Jack Gantos, Eileen Christelow, Meg Wolitzer, and Daniel Kirk.  Personally, I’m most excited to see Taye Diggs, who will be here to talk about his book Chocolate Me.  I’m also looking forward to hearing from Bruce Foster, who has created a pop-up book inspired by Harry Potter.

The BooksmART Festival will kick off at 11:00 a.m. on June 9th, and admission to the DMA and the Festival will be free for everyone.  I hope you’ll join in the celebration!

Shannon Karol
Manager of Docent Programs and Gallery Teaching

High School Day: Students Connect with Filmmakers and Art

Published April 19, 2012 Art & Teaching , Community Connection , Museum Insight , People , Teaching for Creativity , Technology 2 Comments
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Students arrive at the Dallas Museum of Art for High School Day

Last Friday, we had nearly 400 students visit the Dallas Museum of Art  for High School Day, a free educational event that was held in the Dallas Arts District.  This event was presented by the Dallas International Film Festival, and the students attended discussions and workshops at the DMA, the Nasher Sculpture Center, the Crow Asian Collection, and the Annette Strauss Square at the AT&T Performing Arts Center. 

High School Day was a day chock-full of workshops and discussion panels from 8:30 a.m.-4:00 p.m., during which the students had the opportunity to work with local and regional filmmakers and professionals. 

Digital Cinematography with Paul "Bear" Brown

One of the three sessions held at the Museum was Digital Cinematography, which was held in our outdoor sculpture garden.  This workshop was led by Paul “Bear” Brown, a professor at the Savannah College of Art and Design (SCAD).  Students in this session learned what type of digital cameras are commonly used in filmmaking,  such as the Canon 5D MKII. Other topics included popular production tools such as Sliders.

Students experiencing "Cinematic Response" in the galleries at the Dallas Museum of Art.

While half of the students interacted with Mr. Brown, the other half were making connections between art and film in the Youth and Beauty: Art of the American Twenties exhibition.  Cinematic Response, a DMA staff-led experience, allowed the students to be the film “critic” of works of art that are featured in the exhibition.  Each student was given an award title, such as “Best Cinematography,” and they selected the work of art that best fit this description.  This was a great way to get the students discussing the art of the Roaring Twenties in the context of film.

Another workshop featured at the DMA was The Nuts and Bolts of Screenwriting with Carolyn Hodge, the president of the Dallas Screenwriters Association.  Ms. Hodge broke down the fundamental basics of a script and gave some pointers for the students.  Then she discussed loglines, and had the students create their own logline based on the movie The Hunger Games.  A logline is basically a summary of the film in one or two sentences. This is what one group came up with:

“A young, impoverished girl who struggles to survive a totalitarian government is forced to fight to the death in a competitive feudal match. ”

The Nuts and Bolts of Screenwriting with Carolyn Hodge.

Lighting as Storyteller session with Michael Hofstein

The third and final workshop held at the DMA was Lighting as a Storyteller with SCAD professor Michael Hofstein.  Students learned to match specific lighting techniques with the story being told.  Holfstein used examples of cinematic lighting rendered in paintings and popular films, and then discussed the importance of lighting within a specific story.

Overall, High School Day was fun and educational for all.  The event provided many opportunities for local students to connect with professionals in the filmmaking world.  I can’t wait to see what the future of filmmaking holds!

Cheers,

Loryn Leonard
Coordinator of Museum Visits

How it's Made: Japanese Lacquer

Published March 8, 2012 Art & Teaching , How It's Made , Museum Insight , works of art 5 Comments
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Next time you visit the Dallas Museum of Art, make sure you stop by our Japanese collection.  You can find the Japanese gallery on the third floor in the Arts of Africa, Asia, and Pacific Island galleries.  In the center of the gallery, you will find three exquisite examples of Japanese lacquer.  In fact, one of my favorite works in our collection is a Japanese lacquered Chest of drawers.

History of Japanese Lacquer

According to Monsieur Gonse, a French connoisseur and art critic, “Japanese lacquered objects are the most perfect works of art that have ever issued from the hands of man.”

The art of lacquer actually came to Japan from China around the 6th century A.D.  Originally connected with Buddhism, early lacquer adorned the walls of Buddhist temples.  As the medium became more popular, lacquer objects became more utilitarian and were primarily used as everyday objects.  Individuals who commissioned such decorative objects had to be patient with the time commitment involved, for it could take months to even years to complete a lacquered object.

What makes Japanese lacquer special?

In order to appreciate the true value of Japanese lacquer, it’s important to understand how lacquer objects are made.

Lacquer comes from the sap of the lacquer tree, Rhus vernicifera,and is known as

Extracting lacquer from the Rhus vernicifera tree

urushi.  Most lacquer forms begin with a wooden foundation, a special wood called Hinoki, a species of Japanese cypress.  Before the layering of the lacquer begins, the lacquer artist wraps the wooden object in a silk or hempen cloth saturated with a mixture of lacquer and rice flour called nori urushi.  Then, a layer of powdered earthenware mixed with lacquer is applied over the cloth and sanded smooth.   This method is applied with finer grades of powder until an even layer is produced.

After the foundation layers are smoothed, the object is ready for the refined lacquer. The refined lacquer is blackened by iron and applied carefully in layers.  Because the lacquer takes a long time to dry and needs high humidity for hardening, the object is placed in a “wet box” for three to four days before the next coat is applied.  After the object is removed from the “wet box”, it is carefully smoothed and polished with magnolia charcoal.  This is repeated about thirty to eighty more times until the final coat is applied.  After the last coat has dried, the object is finger polished with deer’s horn ashes and oil.

Fun Fact: Because the humidity in Japan is so high, the three lacquered objects here at the DMA are placed in humidity controlled cases.

This precise artform requires a huge amount of skill and patience.  If one were to apply thirty coats of lacquer and wait four days in between each layer, it would take up to 120 days to complete the lacquer portion of the object.  This is not including any special techniques such as inlay or other carving methods.  Altogether, it could take half a year to complete a lacquer object!  How long do you think it took to create this Lacquered wood saddle?

Next time you’re at the Museum, come by and see some of the finest hand-made objects in our collection.  Once you see these beautifully-crafted objects in person, they are bound to become your favorites!

Over and out,

Loryn Leonard
Coordinator of Museum Visits

Resources:

  • Mody, N.H.N., “Japanese Lacquer,” Monumenta Nipponica, Vol. 3, No. 1 (Jan., 1940), pp. 291-294
  • Weintraub, Steven, Kanya Tsujimoto, and Sadae Y. Walters, “Urushi and Conservation: The Use of Japanese Lacquer in the Restoration of Japanese Art,” Ars Orientalis, Vol. 11 (1979), pp.39-62

What to Expect on a Docent-Guided Tour

Published February 7, 2012 Museum Insight 3 Comments
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A few months ago, Loryn shared her tips for making the most of a self-guided visit to the DMA.  I thought I would weigh in today with a summary of what to expect when you schedule a docent-guided tour at the Museum.  We offer docent-guided tours Tuesday-Friday at 10:00 a.m., 11:00 a.m., 12:00 p.m., and 1:00 p.m., and all requests for docent-guided tours must be submitted at least three weeks in advance.

Let’s say you’ve submitted your request and received your confirmation letter from Loryn.  What happens once you actually arrive at the DMA?

An excited 4th grader hops off the bus

First, you’ll be greeted by one of our fabulous docents.  This docent will chat with you to make sure that you’re broken up into smaller groups (we assign one docent for every fifteen students), and s/he will match you up with the docents for your tour.  Once your tour is under way, you should expect to see five to six works of art in a one hour tour.  We emphasize quality  over quantity–we believe your students will gain more from in-depth experiences with a limited number of works than they would from trying to see twenty works of art in one hour.  If you would like your students to see more paintings and sculptures while they are here, consider scheduling a self-guided visit after your tour.  That’s a great way for your students to be able to go back and look at works of art that are most interesting to them.

Discussing Mark Rothko's Orange, Red, and Red

Three years ago, we created a program goal for K-12 docent-guided tours.  Our goal states:

  • On docent-guided tours, students will experience the Museum as a comfortable place to visit and return to, discover that works of art are relevant to their lives, and begin to see their world in a fresh way.

How does that happen in the galleries?  First off, your docents will welcome you to the Museum and learn a little bit about your group and what you have been studying.  They’ll discuss the guidelines for a Museum visit, and also present a theme for your tour.  At each stop, they will ask your students to look closely at the work of art.  They might use open-ended questions to ask the group what they see, and they’ll hopefully ask them to share visual evidence for their ideas.  We use questions and conversations to encourage closely looking, rather than a lecture-based teaching method.

A docent helps students look for clues that tell us about Tlaloc

We also know that everyone learns in different ways, and docents are encouraged to think about addressing multiple learning styles over the course of their tour.  Your students might be asked to write a short poem, act out a pose or gesture, or even sketch in the galleries.  Each of these activities focuses their attention and allows them to look closely to make sense of the works of art in the Museum.

Students move their bodies like the lines in a painting

We want students to begin to experience a sense of wonder while they are at the Museum, and that can happen in many ways on a docent-guided tour.  Some students experience wonder the minute they step through the door and see the Barrel Vault space for the first time.  Others ask questions about works of art, make connections between works of art, or say things like “I never knew that.”  One way that docents can help facilitate that sense of wonder is by giving students time to look and reflect on their own.  And of course, listening and responding positively to your students’ ideas is a great way to promote that sense of wonder, as well!

Students are asked to arrange colors in response to an abstract painting.

The final element of a docent-guided tour at the DMA is helping students see that works of art–whether they were made 2,000 years ago or two years ago–are relevant to their lives today.  How is a bed made in 1844 similar to the beds we sleep in?  What is different about it?  What type of bed would you love to have in your house?  These are just some of the questions docents might ask students when discussing this work of art in our galleries.  We want students to make a personal connection while they are at the Museum, and it is our hope that these connections will turn your students into lifelong Museum goers.

We end all of our tours by inviting students to come back to the DMA often.  I hope that this gives you a sense of what happens on a typical docent-guided tours, and that you’ll bring your students to visit us soon!

Shannon Karol
Manager of Docent Programs and Gallery Teaching

Help Wanted: Looking for a Few Good Interns

Published February 2, 2012 Museum Insight 1 Comment
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With all the amazing experiences you can have at the DMA, what could be better than learning about our work firsthand? Each September, DMA staff welcome a new class of McDermott Interns through the McDermott Internship Program. And thanks to the generous support of the Eugene McDermott Education Fund, we are even able to provide our fabulous interns with a stipend.

Although I may be a bit biased (I was a McDermott Intern last year), McDermott Interns truly are a vital part of the DMA. We couldn’t survive without them! Throughout their short nine-month stint at the Museum, they contribute to various projects, from exhibitions to tours to programming and beyond. We even make sure our interns get to experience other arts organizations around the Metroplex. It’s a smorgasbord of museum opportunities!

Two of the lucky interns from this year’s class are our very own Hannah and Jessica, who have blogged about some of there experiences with you here. I asked them a couple questions to get their perspective on being a McDermott Intern:

What has been your favorite part of the McDermott Internship so far?

Hannah: Definitely teaching. I love going into classrooms and interacting with the students; their energy, enthusiasm and curiosity is contagious. They are constantly reminding me why I am so passionate about art and teaching. I also really enjoy going to docent training lectures and discussions, because it gives me the opportunity to keep learning.

Hannah (center right) with local teachers during the Art and Fashion Teacher Workshop.

Jessica: My favorite part of being a McDermott Intern is being able to work with some of the friendliest and most dedicated people I have ever met. I have also really enjoyed learning about the DMA’s collection and fantastic exhibitions, and then passing on that exciting knowledge when giving tours.  It is so rewarding to know that you made someone’s trip to the Museum memorable!

In your opinion, what is one reason why someone should apply to be a McDermott Intern?

Hannah: One thing that is really unique about being a McDermott intern is that you get the chance to work really closely with one department, while also getting opportunities to collaborate and interact with the entire staff of the Museum. With guidance and support, you have many responsibilities within the department you are working for, and your days are filled with diverse tasks, activities and programs. No two days are the same!

Jessica: One word: EXPERIENCE! The staff at the DMA will ensure that you are given every opportunity to learn about the inner workings of so many different departments within the Museum. The DMA really values McDermott Interns as professional coworkers, not just as extra help. It is that kind of attitude that really makes being a McDermott Intern a wonderfully fulfilling experience.

If you or someone you know is interested in exploring a museum career, check out our Museum Internships page, which includes more information and a link to the 2012-2013 McDermott Internship application form. We look forward to your submissions!

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Coming Soon: Mark Manders

Published January 12, 2012 Museum Insight 1 Comment
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A new exhibition opens at the DMA this Sunday, and it’s one I’m looking forward to seeing in person.  Mark Manders: Parallel Occurrences/Documented Assignments presents eighteen sculptures by the Dutch artist.    Manders is a poet-turned-artist, and his sculptures combine everyday objects (such as teabags and pencils) with items that he creates himself.  At first glance, you might assume that his sculptures are made with found objects.  In actuality, the busts, tables, and newspapers are objects that Manders constructs.  You can see a behind-the-scenes look at the installation of the exhibition on the DMA’s Uncrated blog.

Mark Manders, Anthropological Trophy, 2010. Courtesy of the artist; Tanya Bonakdar Gallery, New York; and Zeno X Gallery, Antwerp

Although the subject matter of the exhibition includes physical sculptures, there are also elements of archaeology, architecture, and literature that can be explored in Manders’s works.  One way that we are exploring these different themes is through a Thursday evening program called In Residence.  Every Thursday evening through the run of the exhibition (January 15-April 15, 2012), DMA staff members will be available in the exhibition to converse with visitors about Manders’s thought-provoking work and process.  On three of these Thursdays, a Perspectives series will be offered.  Perspectives will pair a DMA staff member in conversation with scholars from various fields to explore the different perspectives they can shed on the art of Mark Manders.  The Perspectives line-up includes:

  • February 9: Gregory Warden, archaeologist
  • March 22: Farid Matuk, poet
  • April 12: Mark Gunderson, architect

Mark Manders, Ramble-room Chair, 2010. Courtesy of the artist and Zeno X Gallery, Antwerp

Teachers are encouraged to participate in the In Residence and Perspectives conversations to learn more about Mark Manders.  Remember: teachers receive free admission to the Museum on Thursday evenings when they show their school ID.  I also encourage you to visit Mark Manders’s Web site to explore his works of art and to read about them in his own words.

Mark Manders, Still Life with Books, Table and Fake Newspaper, 2010. Courtesy of the artist; Tanya Bonakdar Gallery, New York, and Zeno X Gallery, Antwerp

I also want to make you aware of the fact that Mark Manders: Parallel Occurrences/Documented Assignments will be the only contemporary art on view at the Museum this spring.  Any teachers who request a “Contemporary Art” tour from January through April will be scheduled for a tour of this exhibition.  Please keep this in mind when scheduling your visits to the Museum.  I hope you and your students enjoy exploring and discussing the sculptures of Mark Manders!

Shannon Karol
Manager of Docent Programs and Gallery Teaching

Let it Snow, Let it Snow, Let it Snow

Published December 20, 2011 Community Connection , Museum Insight , Uncategorized , works of art 2 Comments
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Wishing for a wintery holiday season filled with snowflakes and snowmen?  Even though a snow-white holiday may be wishful thinking here in Dallas, you can still get in the holiday spirit at the Museum.  Bring the whole family to enjoy the many winterscapes we have displayed in the galleries, and create your own holiday-inspired work in the Center for Creative Connections!

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Wishing you all a very happy holiday,

Loryn Leonard
Coordinator of Museum Visits

Images used:

  • Frederic Edwin Church, The Icebergs, c. 1861, gift of Norma and Lamar Hunt
  • Ice Bowl and Spoon, Gorham Manufacturing Company, c.1871, The Eugene and Margaret McDermott Art Fund, Inc
  • Gustave Courbet, Fox in the Snow, c. 1860, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund
  • Georgia O’Keefe, Bare Tree Trunks in Snow, c. 1946, Dallas Art Association Purchase
  • Childe Hassam, Along the Seine, Winter, c. 1887, bequest of Joel T. Howard

The Fashion World of Jean Paul Gaultier Has Arrived

Published November 15, 2011 Museum Insight 1 Comment
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After months of preparation and anticipation, The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk is now open to the public.  The DMA’s galleries have been transformed into an immersive fashion environment, complete with singing mannequins and a moving catwalk.  I couldn’t stop saying “wow” my first time through the exhibition–I kept forgetting that I was inside the DMA.

Les Vierges collection, Apparitions dress, Haute couture, spring/summer 2007, copyright P. Stable/Jean Paul Gaultier

The exhibition celebrates a 35-year span of Gaultier’s career (from 1976 to 2011), and is divided into six distinct galleries:

  • The Odyssey of Jean Paul Gaultier, which is an introduction to Gaultier using three of his favorite motifs: sailors, mermaids, and virgins.
  • The Boudoir, which explores Gaultier’s reinterpretation of corsets and lingerie for the modern woman’s wardrobe.
  • Skin Deep, which celebrates how skin (our first garment) and its various types of decoration have inspired Gaultier.  This section is also devoted to Gaultier’s take on male fashion, including his men’s skirts.
  • Punk Cancan, which reflects the influence of Paris and London on Gaultier’s designs.
  • Metropolis, which explores the worlds of technology and science fiction.  This section of the exhibition also includes Gaultier’s collaborations with artists in the fields of film and dance.
  • Urban Jungle, which demonstrates the influence of world cultures and peoples in the fashions of Jean Paul Gaultier.

Les Actrices collection, Barbarella body-corset, Haute couture, fall/winter 2009-2010, copyright P. Stable/Jean Paul Gaultier

Of course, Jean Paul Gaultier’s name is forever tied to Madonna, and the gold corset from her Blond Ambition tour has pride-of-place in the Boudoir gallery.  The labels in the exhibition reveal a “who’s who” of other celebrities who have worn the designs in the exhibition, including Kylie Minogue, Dita von Teese, Sarah Jessica Parker, Anthony Keidis and Flea from the Red Hot Chili Peppers, Catherine Deneuve, and Beyoncé.  Several of the labels also list the number of hours required to make that particular garment.  For me, that is the most fascinating part of the exhibition.  I spend my weekends sewing, and I get annoyed if something takes me longer than a day or two to complete.  I can’t imagine spending 200+ hours working on one garment!  I guess that’s the distinction between haute couture and something home-sewn.

Les Indes galantes collection, Lascar dress, Haute couture, spring/summer 2000, copyright P. Stable/Jean Paul Gaultier

If you would like to experience The Fashion World of Jean Paul Gaultier, I encourage you to sign up for our full-day Art & Fashion Teacher Workshop on December 3rd.  I am co-leading the workshop and we’ll explore the exhibition, as well as other examples of fashion from the DMA’s collection.  There are still spaces available, and it’s guaranteed to be a fashion-filled day (bonus points if you arrive for the workshop wearing sailor stripes). If you’re not able to join us for the Teacher Workshop, keep an eye out for Jessica’s fashion-inspired Friday Photo Posts in the month of November.

Jean Paul Gaultier's love note to Dallas

The DMA’s Uncrated blog also has a behind-the-scenes peek at Gaultier’s time at the DMA last week, including photos and video.  Of course, I also encourage you to come check out the exhibition for yourself.  This is the DMA’s first-ever fashion exhibition, and it truly is phenomenal.  Don’t let these fashions walk off the catwalk on February 12th without seeing them in person.

Shannon Karol
Manager of Docent Programs and Gallery Teaching

Self-Guided Visits: Tips for Teachers

Published November 10, 2011 Art & Teaching , Creativity , Museum Insight , Resources , Teaching for Creativity , Technology 1 Comment
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Students enjoy Miguel Covarrubias's Genesis, the Gift of Life

Arranging a self-guided visit for your students is great way to explore the Museum.  It allows your students to encounter the Museum on your terms, observe art at their own pace, and spend more time in front of objects that interests them.  Setting up a self-guided visit is easy, and to ensure that your Museum experience is educational and enjoyable, try these helpful hints:

Getting Started

Sign up for a self-guided visit by filling out an online request form.  If you  have already arranged a docent-guided tour and would like to add a self-guided visit to your Museum experience, send me an email at Tours@DallasMuseumofArt.org.

Be Prepared

It’s easy to underestimate the importance of logistics.  Save yourself some time and energy by preparing before you visit.  Once you have a date and time confirmed, start considering the layout of your self-guided visit.  If you have a large group, break them up into smaller groups before you visit.  Smaller groups make it easier to navigate through the galleries, and dividing them before you arrive gives you more time to spend in the galleries. 

Have a Game Plan

Most visitors feel that they need to see everything when they come to the Museum.  While every object on display deserves to be seen and appreciated, it’s just not feasible to see everything in our collection, unless you can spare a couple of hours.  Instead, challenge your students to focus on a handful of objects that encompass a topic or theme learned in class.  Short on inspiration?  Check out our online teaching materials for themes used on docent-guided tours.

Students in the European galleries

Be Creative

As teachers, you learn to be creative in just about every situation.  Consider your self-guided visit as another opportunity to show off your inventiveness.  Try adding some of these activities to your self-guided visit:

      • Create a scavenger hunt.  This activity works great with large groups and can be a fun game for all ages.  You can find loads of factual information and teaching tips in our CONNECT teaching materials.
      • Incorporate a sketching activity.  Have students take a closer look by having them sketch an object.  You can incorporate this activity in your scavenger hunt, or have a more in-depth drawing session.
      • Take a smARTphone tour.  Don’t have a smartphone?  Borrow an iPod Touch from the Visitor Services Desk.

Make the Most of Your Trip
After you’ve had plenty of time to gallivant through the galleries, why not enhance your Museum visit by stopping by Center for Creative Connections.  The Center for Creative Connections, or C3, is an innovative space that encourages interactive experiences with art.   There are fun activities for all ages, and you can create a make-and-take art project at the Space Bar. 

Students Sketching in the Galleries

There are many ways your students can experience the Museum, and as a teacher, you are the architect behind their visit.  Remember, encountering art can be exciting and educational, so be sure to have fun!

Wishing you all a terrific Thursday,

Loryn Leonard
Coordinator of Museum Visits

Celebrating Five Years of 4th Grade Visits

Published September 20, 2011 Museum Insight Closed
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Today marks the first day of student tours for the 2011-2012 school year.  And with the new school year comes a new year of partnerships with schools and school districts from across the Dallas/Fort Worth Metroplex.  I am especially excited because it also marks the fifth year of our partnership with the Dallas Independent School District.  As a result of this relationship, every 4th grade student in Dallas ISD visits the museum for a docent-guided A Looking Journey tour.

DISD students wait to enter the DMA

It’s always gratifying to receive notes from teachers about their visits to the Museum.  Below are just a couple of quotes from DISD art teachers who visited the DMA last year with their students.

  • Please pass my appreciation on to your entire team and let them know that we are ever thankful for what you do so our students can experience art. I just really can’t fully express how grateful I am.  Going to the DMA is one of the biggest highlights of my students’ year!
  • I want to thank you for a very successful, enjoyable, and educational visit to the DMA for our 4th grade yearly visit this year.  It was the best visit and one in which all of the docents were well-informed, very well-prepared, and there for the groups.  My students couldn’t stop talking about the trip, and they want to return to the DMA.

Students explore the Lokapala in the Museum's Asian galleries

Since September 2007, we have welcomed over 45,000 DISD 4th graders to the Museum for docent-guided tours.  It’s crazy to think that the 4th graders who visited us in 2007 are in 8th grade this year!  I often wonder what sort of impact their DMA visit has had on them.  Have they visited the Museum again?  Do they still think about their favorite work of art from the DMA?

Docent Kelly Breazeale with students from Stonewall Jackson Elementary

All of us at the Dallas Museum of Art value our partnership with Dallas ISD, but it’s really the docents who benefit most from this relationship.  They’re the ones who get to spend each day in the galleries, experiencing works of art with these students.  And in a time when budget cuts and questions about the importance of the arts in education are in the headlines, all of the docents are thrilled that Dallas ISD values our partnership enough to ensure that these visits continue to happen.

Shannon Karol
Manager of Docent Programs and Gallery Teaching

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