Archive for the 'Staff' Category



Two Nights in Greece

On June 26 and 27, I will offer a two-session course on the themes raised by our current exhibition The Body Beautiful in Ancient Greece: Masterworks from the British Museum.

Bronze statuette of Zeus Roman period, first–second century AD, said to be from Hungary  9 5/16 x 4 5/16 x 4 3/4 in.  GR 1865,0103.36 (Bronze 909) © The Trustees of the British Museum (2013). All rights reserved.

Bronze statuette of Zeus
Roman period, first–second century AD, said to be from Hungary,
© The Trustees of the British Museum (2013). All rights reserved.

Objects from Greek and Roman antiquity can be challenging to decipher. What the classical world took for granted is no longer part of our language, either spoken or visual. The polytheistic religious framework that defined daily existence seems alien to a modern Western observer, for whom the myths of ancient Greece are complex, overlapping, and in many cases hard to understand.

Over the course of two evenings, I hope to make these artworks of some two millennia ago feel as accessible as possible to a modern viewer, and to share observations from a lifetime of handling and studying classical antiquities.

Black-figure neck amphora, Greek, 520–510 BC, from Vulci, Italy, GR 1836,0224.106 (Vase B224), © The Trustees of the British Museum (2013). All rights reserved.

Black-figure neck amphora, Greek, 520–510 BC, from Vulci, Italy, © The Trustees of the British Museum (2013). All rights reserved.

We’ll tackle the objects in the exhibition by medium, to give insight into the creative choices made by artisans working in gold, silver, bronze, marble, and terracotta, and make our way through the stylistic transitions of the Geometric through the Hellenistic periods.

By the end of these two nights, I hope to have given you what you need to take in not only the antiquities in the DMA’s galleries but also any others you may encounter in the future.

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Visit the DMA’s website for additional information on An Illustrated Course: The Body Beautiful in Ancient Greece and to register for the two-night event. DMA Friends have the opportunity to attend the course for free; earn 6,500 points and redeem that credit for the Illustrated Course reward.

Maxwell L. Anderson is The Eugene McDermott Director at the DMA.

Cindy Sherman Doppelgängers

DMA staff members found their inner Cindy Sherman earlier this month when we re-created our popular April Late Night Art Byte: Cindy Sherman Photo Booth. Create your own Cindy Sherman doppelgänger before the exhibition closes on June 9 to receive the limited edition DMA Friends Super Fan: Cindy Sherman Badge! Find out how to earn this badge and bonus points here.

Adam Gingrich is the Marketing Administrative Assistant and Kimberly Daniell is the Public Relations Manager at the DMA.

Art Is My Client

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Uncrated stopped by the design office and caught up with Becca Winti, Senior Graphic Designer, to learn more about her role here at the DMA. Rumor has it that she can do a perfect goat impression . . .

Describe your job in fifty words or less.
I provide design for print, environmental, and web-based communications for the Museum. Projects consist of brochures, invitations, ads, store product, way-finding signage, banners, billboards, DART bus graphics, and more. I carry the brand across all of the departments of the Museum to create a visual culture.

What might an average day entail?
I’m usually juggling anywhere from thirty to sixty jobs at one time, so my average day consists of a lot of multi-tasking! I go from working on a logo for a special exhibition to working on a vinyl “No Smoking” sign for our glass doors. Since I design print projects, I also attend many press checks. I work in a room with two other designers and an editor, which results in a lot of laughing and listening to music throughout the day. Never a dull moment!

How would you describe the best part of your job and its biggest challenges?
The best part of my job is that ART is my client! I also enjoy working with the different types of people that Museum life is filled with. Working as an in-house designer and creating collateral for different departments in the Museum that looks the same but feels different can be tricky. Each department wants to stand out. So the challenge is how to make them stand out but fit into our over-arching brand umbrella.

Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum?
I originally went to school to study architecture but soon realized that there is a lot of math and physics involved and that wasn’t going to work for me. So I made the migration to design communications. I didn’t realize that I could work for an art museum until I was about to graduate from college and saw representatives from the DMA at a student portfolio show that I attended. I worked for a design agency for a year or so straight out of school and then wanted to move on. I decided I would only stay in Dallas if I could work at the Dallas Museum of Art–and look what happened! I got my dream job and I‘ve been here for almost seven years.

What is your favorite work in the DMA’s collection?
It’s hard to have one favorite work. So I have a few. The first work that stands out in my mind is Buildings by Charles Demuth. I like anything that is architectural, and I love how vibrant the red is. I also really enjoy The Gentleman by Andrew Wyeth. The light that is captured is breathtaking. The work is dramatic but peaceful at the same time. Another favorite is Emma-O. He is so terrifying but that is what I love about him. The artist was successful in creating the King of Hells and evoking the emotion that you get from looking at him.

Is there a past exhibition that stands out in your mind as a favorite, or is there a particular upcoming show you’re looking forward to seeing?
Past exhibitions that have stood out for me (of course there isn’t just one) are Phil Collins: the world won’t listen, Take Your Time: Olafur Eliasson, Mark Bradford, The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, and Posters of Paris: Toulouse-Lautrec and His Contemporaries.

Exchange Student

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Sandra Buratti-Hasan, a Museum Curatorial student from Paris, France, has been the guest of the DMA for the past couple of months as the last step of her curatorial training. Uncrated recently caught up with her in the galleries to find out more about her visit to the U.S.

Tell us a bit about yourself and why you’re visiting the Dallas Museum of Art: I am currently finishing my training as a museum curator in Paris at the Institut National du Patrimoine (National Heritage Institute). Every curator in France has to go through an eighteen-month training after passing a competitive examination. I am a specialist in Western 19th-century art, especially the symbolist period and the links between literature, music, and visual arts. The training consists of lectures on museum management, exhibition coordination, law, budget management, and various trainings within museums, both in France and abroad. For my international training, I wanted to discover from the inside the U.S. museum system, and I thought it would be very interesting to be hosted by my former teacher at the Ecole du Louvre in Paris, Olivier Meslay, who is now the Associate Director for Curatorial Affairs and The Barbara Thomas Lemmon Curator of European Art at the DMA.

What has an average day been like for you while at the DMA? There was no average day—my stay at the DMA has been full of surprises! However it has been a good balance between attending meetings, especially the curatorial and the budget and management team meetings, having a thirty-minute interview with a member of staff (in every department: gallery attendants, Visitor Services Desk, IT, Museum Store, conservation, marketing, and so on). I also spent lots of time in the galleries and in the Center for Creative Connections participating in programs for various visitors (schoolchildren, people with special needs, etc.). And I should not forget the Friday Late Nights and Jazz in the Atrium on Thursdays. I also had the great opportunity to visit Texas museums, which are full of treasures.

How would you describe the best part of your job and its biggest challenges? There are several “best parts” in being a museum curator. One of the most exciting is to give life to works of art you find really important and that have been previously neglected. It fulfills one of a curator’s greatest challenges: to help people become involved with art, no matter what their educational background is. Another challenge is to find the balance between managing the collections, coordinating exhibitions, and having enough time for your scientific research, which needs to be constantly updated.

Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum? I had several dreams. I wanted to be a painter, an archaeologist, a judge, or a natural scientist. But I was always fascinated by art, especially paintings, and as a child I would consider Leonardo as a friendly figure from the past, a bit like an unknown grandfather (certainly because of portraits showing him with a white beard). So I think working in an art museum was a dream, but an unconscious one.

What is your favorite work in the DMA’s collection? Definitely the Canaletto (San Cristoforo, San Michele, and Murano from the Fondamenta Nuove, Venice). I was fascinated by it as soon as I approached it on my first day at the Museum. It is a very striking piece, wide and uncommon in Canaletto’s work. He manages to capture the poetry of Venice, the gray sky, the mystery of the water; you feel as if the painting is going to swallow you. I would love for my soul to be likewise kidnapped by art. It is exactly for that feeling that I wanted to work among paintings.

Is there a past exhibition that stands out in your mind as a favorite, or is there a particular upcoming show you’re looking forward to seeing? I remember a striking show in Amsterdam in 2006, Rembrandt-Caravaggio. The room was really dark, with bright highlights on the paintings. You felt like you were entering a marvelous cave, and indeed, treasures were hung on the walls. Seeing the two masters at the same time deeply touched me. I have never felt such a strength in the brushstrokes, such a depth in the layers of the paintings or the looks on the faces.

Open Office: Foundation and Government Relations Director

I inherited my office–and the majority of this wall collage–from its former resident. I had always admired her creative office décor, so I immediately added to it when I moved in. The timespan of exhibitions reflected on the wall ranges from 2004 (Splendors of China’s Forbidden City: The Glorious Reign of Emperor Qianlong) to present day (the newly opened Cindy Sherman). It’s fun to see a visual history of the shows we’ve presented over the last decade. Too bad it’s the only organized area of my office.

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Anne Palamara Smith is the Director of Foundation and Government Relations at the DMA.

Dining with Our Docents

Today docents at the Dallas Museum of Art celebrated the holidays at a Docent Luncheon. We appreciate all of their hard work and dedication throughout the year. Visit the DMA Dashboard to see how many hours the docents have volunteered. If you are interested in learning more about the DMA Docent Program, e-mail skarol@DMA.org.

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Crawl Space: Within the Walls

We recently opened our DMA Staff Art Show, Crawl Space: Within the Walls, on Level M2. DMA employees love art, and some members of our staff create their own works. Stop by and visit the Staff Art Show, on view through January 6, 2013.

Feasting: From Ancient Mexico to Our Kitchens

On Thursday, November 15, cookbook author Diana Kennedy, often called the Julia Child of Mexico, will be here to discuss her cookbook Oaxaca al Gusto: An Infinite Gastronomy, as well as the feasting traditions of ancient Mexico.

Oaxaca al Gusto: An Infinite Gastronomy is equal parts historic document and kitchen guide, focusing on the traditional cuisine of the Oaxaca region of Mexico. In preparation for this event, the DMA’s programming team decided to try some recipes from the book to see what they were like (and to test their kitchen skills).

Stacey Lizotte, Head of Adult Programming and Multimedia Services:

I decided to make Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado) because I have always wanted to learn how to make a mole sauce. This recipe called for a few ingredients that I could not find in the four different grocery stores that I went to. I replaced the main ingredient, clavaria mushrooms, with a mix of regular button mushrooms and oyster mushrooms. I also could not find dried costeños chiles and instead went with dried gaujillo chiles.

Ingredients for Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado)

First you make a paste of the mushrooms and then add them to a pureed tomato, chile, garlic, onion, and spice mixture before frying in a skillet with lard over high heat. You then mix with masa to thicken the sauce. Traditionally, this dish is just served with corn tortillas.

Mushroom paste

I found the mole to be on the mild side and would serve it with a meat next time, either chicken or beef, in addition to the tortillas.

Things I learned: You can toast the chiles on an electric stove top burner if you don’t have a comal as recommended in the book. And, you will need a very large skillet for the last step, as this recipe makes a lot of mole.

Roasting chiles on electric stove

Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado)

Liz Menz, Manager of Adult Programming:

I am without question the least experienced cook of our team, so I chose to make a simpler recipe, Red Chickpea Soup (Molito de garbanzo rojo). After a pep talk from a few of my more kitchen-savvy friends and a deep breath, I gathered my ingredients and went to work. I did make one small change to the recipe and replaced the lard with Crisco to make it vegetarian friendly.

Ingredients for Red Chickpea Soup (Molito de garbanzo rojo)

After whisking the chickpea powder/flour into water to get a smooth consistency, I turned to my blender to puree the onion, garlic, and tomatoes.

Tomato, onion, and garlic in blender to puree

I added the chickpea mixture to boiling salted water and let it reduce for quite a while to get a thicker consistency for the soup. Meanwhile, the Crisco was melting in a larger skillet to fry and reduce the onion, garlic, and tomato puree. After the puree had reduced some, I added it to the pot with the chickpea base and whisked regularly as it reduced more. After letting it simmer for a while on low, the soup thickened up quite a bit.

Chickpea mixture and tomato puree reducing on stove

The soup was very tasty and, as I mwentioned to a co-worker afterwards, would also make a great base for veggies or meat for a heartier meal.

Things I learned: The puree mixture fries and reduces much quicker than I expected, whereas the soup reduced very slowly. Also, my Google app on my phone was just as important as my whisk–in fact, for this inexperienced cook, it was essential!

Red Chickpea Soup (Molito de garbanzo rojo)

Denise Helbing, Manager of Partner Programs:

I decided to finish off our departmental Oaxacan meal with dessert so I made Rice Pudding (Arroz con leche).

For this dish, you only need a few simple ingredients. The only “special” ingredient I didn’t already have was evaporated milk.

Ingredients for Rice Pudding (Arroz con leche)

You just cook the rice in a bit of water with the spices first, then add the two milks and lime and cook slowly for about thirty0 minutes, stirring regularly.

Cooking all the ingredients

The unique aspect of this pudding, compared to other rice puddings I have made or eaten, was the addition of the lime rind during the cooking process. It combined nicely with the cinnamon and allspice and gave the pudding a distinct flavor.

Removing lime rind from milk

This recipe did not call for any sugar or sweetener (like honey or agave), and to me, rice pudding, in a dessert form, needs to be a little bit sweet, so I must make a confession; I added some simple syrup to my pudding at the end of cooking.

I served it as suggested with a bit of lime zest and cream (half and half) on top. My husband said it reminded him of decadent, rich Fruit Loops. And he likes Fruit Loops, so that was a compliment!

Rice Pudding (Arroz con leche)

Feasting in Ancient Mexio is part of our programming for the special exhibition The Legacy of the Plumed Serpent in Ancient Mexico. The exhibition will be on view through Sunday, November 25.

Welcome to the Neighborhood

This week our city’s newest amenity comes online: Klyde Warren Park. Now that we have glorious palaces for high culture, bridges into developing communities, and burgeoning opportunities to live downtown, the next accomplishment to celebrate is a green attraction with an identity open for interpretation by every visitor.

The DMA staff looks forward to the impact of a pedestrian-friendly destination just steps from our front door. The car culture of Dallas is not unique, but whatever we can all do to encourage residents and visitors to stretch their legs and open their eyes can only improve the quality of life for all in our city.

Parks and museums share a great deal—we welcome people of all backgrounds, regardless of particular interests, we offer an informal setting for conversation and relaxation, and we don’t prescribe a route, a timetable, or an outcome for your visit. We both try to offer a respite from the commercial din of contemporary life, some perspective on daily life, and enjoyment that comes from a freedom to wander and explore without confinement.

We look forward to collaborating with the Park as it gets underway with programming, and to accelerating the pedestrian-friendly potential of the Dallas Arts District in a variety of ways. Welcome to the neighborhood, Klyde Warren Park!

Celebrate the grand opening of Klyde Warren Park this weekend. The DMA will move the Studio Creations program outside on Saturday and Sunday from 1:00 to 3:00 p.m., and on Sunday our Maya ballgame demonstration with Grupo Pakal will be held at the Park at 1:45 p.m. Visit the Park’s website for a complete list of events.

Maxwell L. Anderson is The Eugene McDermott Director at the Dallas Museum of Art.

Caravaggio, Crime, and Conservation

Here at the Dallas Museum of Art, the month of July has turned into a celebration of art conservation.  On July 1, Mark Leonard began his tenure at the DMA as Chief Conservator. Mark began his career as a restorer at the Metropolitan Museum of Art before heading west to the J. Paul Getty Museum, where he worked for twenty-six years. This Saturday, in conjunction with an Arts & Letters Live event, Mark will meet visitors in the galleries and discuss upcoming restoration work for Jean Baptiste Marie Pierre’s The Abduction of Europa. At 7:30 p.m., author Daniel Silva will be in conversation with Maxwell L. Anderson, The Eugene McDermott Director of the DMA, discussing his new book, The Fallen Angel. Silva is a celebrated “spy fiction ace,” and is known for his hero, Gabriel Allon. Gabriel has a longtime, on-again off-again relationship with Israel’s secret intelligence service, but he also happens to be one of the world’s finest restorers of old master paintings.

Mark Leonard, Chief Conservator at the Dallas Museum of Art

The Dallas Morning News has said that “in Gabriel Allon, Silva has created a credible secret agent with skills that would make James Bond weep.” Our very own Chief Conservator, Mark Leonard, also has a unique perspective that sets him apart from others in his field: He is an artist as well as a conservator.

Mark, as an artist, do you think you approach your work differently than your contemporaries? How has your work as a conservator affected your work as an artist?
Every artist approaches his work differently. By working with great works of art, from the old masters to contemporary artists, I’ve been able to learn from their work. Not every artist gets this opportunity!

Gabriel Allon is an art restorer by day and a spy and assassin by night. Mark, tell us about your night job as a painter.
For a while in my career, working with a brush in my hand every day, conserving someone else’s work was enough for me. About four or five years ago, I became aware that while I loved restoring paintings, it was really a blank panel that I wanted on my easel. In a series of geometric abstractions, I wanted to explore the theme of love and loss. If you have ever loved, you have experienced loss–the two are interwoven. That’s how I began working on this particular motif. In December of this year, an exhibition of my work inspired by John Constable’s “Cloud Studies” will be on display–side-by-side with the Constables–at the Yale Center for British Art.

Mark Leonard, “Triptych III,” March 2011, gouache and synthetic resin on panel, Private Collection, Austin, Texas

In Silva’s new novel, Gabriel Allon is sent to the Vatican to restore a Caravaggio masterpiece. Mark, in all of your experiences, can you tell us about a particularly challenging project you’ve worked on?
[He chuckles.] That would have to be a Caravaggio I worked on at the Met. “The Musicians” was heavily damaged. It took about six to eight months to bring it back to life. Restoring a painting could take as little as an afternoon to as long as several years.

Caravaggio (Michelangelo Merisi), “The Musicians,” c. 1595, oil on canvas, The Metropolitan Museum of Art, Rogers Fund, 1952, 52.81, Image courtesy metmuseum.org

What are some of your upcoming plans for the DMA’s collection?  Is there any spy work in your near future?
The Museum is very excited about its plans to build a new paintings conservation studio. We are carefully planning for it to include a public space; we want to be able to share the work that we are doing with our visitors. In the meantime, I am planning on spending the next year really getting to know our collection. [He laughs.] I don’t think there is any spy work in my future here. He’ll leave that to Gabriel Allon.

For more information on Saturday’s event with Daniel Silva, please visit our website. For tickets and to register for the tour, call 214-922-1818.

Hayley Dyer is the Audience Relations Coordinator at the Dallas Museum of Art.


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