Archive for the 'Uncategorized' Category



From Pickets to Picnics

The late 1800s were a pretty dismal time for the American worker. People often worked more than 12 hours a day just to get by! It was then, at the height of the Industrial Revolution, that the first “Labor Day” took place. On September 5, 1882, more than 10,000 fed-up employees took to the streets of New York to rally against poor conditions and unfair wages.

Men Working on West Lancaster


Blanche McVeigh, Men Working on West Lancaster, c. 1933–34, aquatint, Dallas Museum of Art, gift of the Public Works of Art Project

Since then, the “working man’s” holiday has been celebrated on the first Monday in September, although it did not become a federal holiday until 1894! Today, Labor Day symbolizes the end of summer and new beginnings for most Americans, but let us not forget those workers that came before us to fight for the safe and sanitary conditions we enjoy today.

newbeach

Lynn Lennon, Beach Party, Dallas City Hall, 1984, gelatin silver print, Dallas Museum of Art, Mr. and Mrs. Homer B. Jester Fund, © 1984 Lynn Lennon

The DMA is closed today, but you can enjoy free general admission every day during Museum hours (Tuesday-Sunday, 11:00 a.m.–5:00 p.m.; Thursday, 11:00 a.m.–9:00 p.m.; third Fridays, 11:00 a.m.–midnight). Have a safe and wonderful holiday!

Make This: Camera Obscura

Today is a big day for the moon, check out this post from 2016 to find our how you can make a camera obscura to watch the moon’s time in the lime light.

The Two Käthes

Join us for Late Night this Friday when we will host artist Käthe Kollwitz of the feminist activist art collective the Guerrilla Girls as part of a celebration of women artists featured in Visions of America. For more than thirty years, women artists from across the country have donned gorilla masks and joined the ranks of the Guerrilla Girls to produce public art campaigns that raise awareness about gender and ethnic discrimination in the art world and beyond. Having decided early on that the members of the Guerrilla Girls would remain anonymous, they took this opportunity to shine some limelight on great women artists of the past by assuming the names of pioneers like Käthe Kollwitz, Frida Kahlo, and Zubeida Agha.

Guerrilla Girls at the Abrons Art Center, 2015

In an interview for the Smithsonian Institution’s Archives of American Art Oral History Program, Käthe explained the origin of their pseudonyms.

“Eventually we realized that we needed individual names within the Guerrilla Girls.  When we went places in a group or in pairs, we needed to be individuals in some way.  So this idea came up to have dead women artists as pseudonyms, and it was a useful idea because art historians were re-finding and representing the work of a lot of women artists from history.  Most of the pseudonyms that people took were artists they’d never heard of before they started and only discovered when they read up on women artists, looking for a name.”

Käthe’s own namesake, Käthe Kollwitz (1867–1945), was a German printmaker and sculptor who also addressed social injustice in her work. She also happens to be well represented in the DMA’s collection

Kollwitz’s work is at times touching and heart-wrenching with intimate portraits of mothers with their children as well as genre scenes depicting the plight of the urban poor. Her subjects are often gaunt figures whose shadowy eyes and pained poses speak volumes about the dire circumstances under which they lived. Having endured multiple personal tragedies and both world wars, she was an artist who did not shy away from showing the realities of war, poverty, and loss.

Käthe Kollwitz, Revolt (Sturm), 1897, Etching, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg, 2000.192.FA

Remarking on how she arrived at the pseudonym Käthe Kollwitz, the artist said, “It’s very personal for everybody.  Käthe Kollwitz is not my all-time favorite artist, but she’s a great role model.  She was an activist as well as an artist.  She didn’t believe in the expensive, fancy art system.  She did a lot of cheap prints that she gave and sold very cheaply.  She did a lot of work about working people, about women and children, even work about sex.  She was a fierce woman artist.”

Over 70 years after Kollwitz’s death the Guerrilla Girls are continuing the practice of using art to raise awareness. Reflecting on their own 30 year legacy, Käthe will speak about favorite projects and how the group has approached activism in their work. For more information about this and other Late Night programs, visit DMA.org.

Jessie Frazier is Manager of Adult Programming at the DMA

Once Upon a Time in Mexico

Tomorrow night, July 13, we are celebrating Mexico of the past and present with our Second Thursday program, Off the Wall to kick off our closing weekend of Mexico: 1900-1950. Since this exhibition is all about telling the stories of Mexico and the artists who documented its history and people, we thought Once Upon a Time in Mexico would be the perfect way to encapsulate the evening. We have so much going on all evening, tours, music, crafts, and more and each activity connects back and tells a story about an artwork in the exhibition.

Murals are such a large portion (literally) that connects the exhibition together, so we wanted to highlight murals as an art form. All night you will be able to watch as the artist collective Sour Grapes create a mural inspired by the exhibition on Eagle Family Plaza. Sour Grapes has been around since 2005 and you can’t drive around Dallas without seeing their work on walls and buildings. Even though we have a few murals to choose from, this one was a visitor favorite and with its bold colors and the scale of the work, you can see why.

Diego Rivera, Juchitán River (Río Juchitán), 1953–1955, oil on canvas on wood, Museo Nacional de Arte, INBA, Mexico City Assigned to the Instituto Nacional de Bellas Artes through the Sistema de Administración y Enajenación de Bienes of the Secretaría de Hacienda y Crédito Público, 2015 © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New

Artists like, Gunther Gerzso, Leonora Carrington, and Alice Rahon, all featured in the exhibition, were important players in the Surrealist movement in Mexico. This movement encouraged artists to unlock their subconscious and use their imagination to create a new world on the canvas.  Spend a few minutes with friends putting yourself into the minds of the Surrealists with the game, Exquisite Corpse. In the game, a piece of paper is folded into sections and passed around; the challenge is that each artist must work on one particular segment without having seen the others. The results are sometimes crazy and monstrous but always hilarious.

Gunther Gerzso, The Days of Gabino Barreda Street, 1944, oil on canvas, Lent by private collection

On the Before Mexico, was Mexico tours, we have Dr. Kimberly Jones the DMA’s Assistant Curator of the Arts of the Americas speaking on our Pre-Columbian collection in English and Spanish. Pre-Columbian art was an enormous influence on many of the artists represented in the exhibition. Just one example is the mural by Saturnino Herrán entitled Our Gods, which shows a group of Aztec people during a ritual to the god, Coatlicue.

To finish up your night, don’t miss Mariachi de Oro performing the upbeat music of Western Mexico. Mariachi has been around since at least the 18th century and is a large part of Mexico’s cultural history. Around the 1920’s when the piece below was painted, Mariachi music was being broadcast on the radio for the first time, and instruments like the trumpet were being infused into the arrangements because of the growing popularity of jazz and Cuban music.

Don’t miss out on a fun filled evening celebrating the closing weekend of Mexico: 1900-1950. We are going to miss this exhibition once it is gone next Monday, but thankfully, we have a few pieces that are staying with us! These images below among others will still be in the DMA’s collection and can be enjoyed many times to come after Mexico is over.

Don’t forget to join us tomorrow from 5:00-9:00 p.m. for July Off the Wall: Once Upon a Time in Mexico. The cost is $5 for the public and free for DMA Members. An additional $10 ticket is required to see the exhibitions that evening.

Katie Cooke is Manager of Adult Programming at the DMA

Party Like It’s 1776

Are you too cool for British rule? Then celebrate the adoption of the Declaration of Independence by exploring more than 150 outstanding prints from the colonial era to the present, drawn exclusively from the National Gallery of Art’s collection. Visiting Visions of America: Three Centuries of Prints from the National Gallery of Art is how you get Fourth of July HamilDONE right. Ain’t no party like a George Washington party, because a George Washington party don’t stop! See you Tuesday friends, the DMA is open on the Fourth of July from 11:00 a.m. to 5:00 p.m.

Julie Henley is the Communications and Marketing Coordinator at the DMA. 

At an arms length

Are selfies a form of art? With the advent of the front facing camera, the digital age’s self portrait was born. Whether seeking social approval, documenting travels, or not wanting anyone to be left out of the picture, selfies give us a snapshot of life’s many moments. Much like paint and brush, filters, and editing apps allow one to dictate how the world see them. Genuine and doctored images are now so seamlessly intertwined that society is left to their own interpretations. Sound familiar?  How many times have you felt differently about a work of art than the person next to you?

Whether you are a proponent of selfies or adversely opposed, you have to admire the forethought and skill involved in taking the perfect one. Has the 45 degree upward tilt been achieved, the most flattering light found, and the perfect filter picked? Not to mention the caption, is it vague or descriptive? Like the text on a label, does it leave one wanting more or fully informed?

This National Selfie Day try your hand (literally) at this art form in the DMA. We promise plenty of beautiful backgrounds, ambient light, and free WiFi, all for your selfie taking adventures.

Julie Henley is the Communications and Marketing Coordinator at the DMA. 

A Curator’s Best Days

In celebration of Paul Gauguin’s birthday today, we thought we would revisit one of Uncrated’s first blogs from August 2010 exploring the conservation work on the DMA’s “Under the Pandanus” painting by Gauguin.

The Golden Age on the Silver Screen

This summer, as part of our México 1900-1950 exhibition, we are celebrating Mexico’s Golden Age of Mexican cinema with free screenings of some of the era’s most beloved and acclaimed films. I asked Alex Garcia Topete, Lead Programmer for Latino and International Programming with The Dallas International Film Festival, to share a few words about what makes this period of film so special and how these films continue to impact filmmaking today. Here’s what he had to say:

What is the Golden Age of Mexican cinema and what is its legacy in the history of film?
It’s the period between the late 30s and late 50s when Mexico became a powerhouse of cinema because of the quality of talent, technical achievements, and overall success of the now-classic films. Without the Mexican Golden Age, there would be no Scorsese, no Spielberg, no Coppola. It also established many of the stars and characters that are worldwide icons of Mexico since then.

Salón México, 1949

What are some of the recurring themes and genres of films made during this period?
First and foremost, strong women are one of the constants. Even when the female lead may be a damsel waiting for her lover, she would still be the one in control and driving the narrative in most Golden Age films. The theme of family and duty also appears a lot, thanks to the changing social mores of the era. In terms of genre, the “ranch comedy” surged—funny or romantic stories that happen in rural settings, kind of a subdued western; however, every major genre had a presence in the Golden Age: film noir, screwball, musicals, biblical epics, you-name-it!

La Perla (The Pearl), 1947

What do you think modern day audiences might like about these films?
Modern audiences will appreciate the universality of the Golden Age films. Yes, they’re all emblematic of what “Mexico” means and what a lot of people think of when they hear that, but the stories and characters are all timeless and universal. Yearning lovers, matriarchs, funny goofballs—the Golden Age presented the whole world in the setting of Mexico.

What are a couple of your favorites and why?
Ahí está el Detalle is one of my favorite comedies because it was the beginning of the legacy of Cantiflas, Mexico’s Charlie Chaplin; Los Olvidados and El Ángel Exterminador because they’re Luis Buñuel at his most masterful; and Los Tres García because it’s a milestone bringing together three of the biggest stars of Mexican cinema. I could go on and on.

Check out a full lineup of film screenings at DMA.org, and don’t miss your chance to see these classics on the big screen.

Jessie Frazier is the Manager of Adult Programming at the DMA.

Nesting

This week, we open the new and improved Arturo’s Nest in our Center for Creative Connections (C3)! The old play areas and design were so well loved that it was time to refresh and re-imagine this beloved play-learning space for our youngest visitors. The Exhibitions team and I had the pleasure of collaborating with the Education Department to come up with a fresh design that harmonizes with the updated Young Learner’s Gallery just around the corner in C3.

Some of the changes we made include installing new carpet (with giant polka-dots) to help with ambient sound, and applying a brand-new landscape to the walls, courtesy of our Exhibitions Graphic Designer, Kevin Parmer. We’ve added a nightscape to a previously plain wall, which adds to the calming and enveloping charm of this space. For our design team, this project was a playful departure from the many ongoing exhibition design projects in the Museum galleries.

Material samples used in the Arturo’s Nest redesign

There will be a new “nest” structure (coming soon) that will also function as a reading nook, and the daytime landscape will be dotted with interactives that engage our youngest visitors’ budding aesthetic sensibilities. We invite you to explore Arturo’s Nest upon its reopening!

Arturo’s Nest space before

Arturo’s Nest space after

Skye Malish-Olson is the Exhibition Designer at the DMA.

Visions of America

What do Paul Revere and Andy Warhol have in common? Seemingly nothing, right? Wrong. Both of these men, who are equally renowned for different reasons, were also American artists (yes, the Paul Revere “The British are coming” fellow) responsible for depicting important moments in the nation’s history through prints. This Sunday, May 28, their works will be joined at the DMA by others from greats such as James McNeill Whistler, Mary Cassatt, Winslow Homer, George Bellows, John Marin, Jackson Pollock, Louise Nevelson, Romare Bearden, Robert Rauschenberg, Chuck Close, Jenny Holzer, Kara Walker, and many more.

Politics in an Oyster-House

Michele Fanoli, after Richard Caton Woodville, Politics in an Oyster-House, 1851, hand-colored lithograph, National Gallery of Art, Washington, Corcoran Collection (Gift of the Estate of William Woodville, VIII)

Just in time for Memorial Day and the Fourth of July, Visions of America: Three Centuries of Prints from the National Gallery of Art takes a look at how America and its people have been represented in prints made by American and non-American artists between 1710 and 2010. As the final venue of a four-city international tour and the only other US venue, the DMA will present more than 150 outstanding prints from the colonial era to the present, drawn exclusively from the National Gallery of Art’s collection.

Lose yourself in the nation’s spacious skies and amber waves of grain through September 3, 2017.

Julie Henley is the Communications and Marketing Coordinator at the DMA. 


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