Archive for the 'works of art' Category



More than Meets the Eye

rosependantCROP2

Sometimes we associate certain objects with specific people, places, or memories. A seemingly ordinary object can hold very personal meanings. When I was young, my grandmother gave me a rose pendant. It consisted of three layers, each with small images carved into the surface. I wore it throughout my childhood and adolescence and remember frequently running my fingers over the textured surfaces when I felt anxious. To anyone else this rose pendant may seem to be a simple trinket, but to me it holds significance and reminds me of my grandmother.

2001_358_A_F   PortraitofPapacrop

Similarly, there is often more to a work of art than meets the eye. In Family Portrait 1963 by Martin Delabano, the artist has depicted his mother sitting in a red chair. To most viewers, this may simply seem to reflect the reality that she was sitting in a red chair; but in fact, this chair is significant to both the artist and his family. The chair is a family heirloom that also appears in a painting by Barney Delabano, Martin’s father. In Portrait of Papa, Barney paints his own father sitting in the same red chair.

During July and August, the DMA is asking you to discover the stories behind works of art in our collection and then share your own stories about significant objects in your life. DMA Friends who complete all three activities below can earn the More Than Meets the Eye Badge with codes gathered upon the completion of each activity.

1991_75_55See
Discover stories behind other works of art in our collection by completing the More Than Meets The Eye smART phone tour. Bring your web-enabled device and pick up a list of the suggested stops on this tour in the Center for Creative Connections (C3).


DSC_0327cropMake
Stop by the C3 Art Spot to re-create an object from your home that holds a special meaning for you. Fill out a label for your creation and tell us why this object is meaningful.

 

 

mirrorCROPDo
Contribute your photographs of objects that hold a special meaning or personal story to the C3 wall of monitors. Simply join our Flickr group and share your images. For more information on how to participate click here.



Can’t make it to the DMA today? No worries! You can start participating right now from your computer at home. Look around you, what objects do you see nearby that are special to you? Grab your camera (or smartphone), take a picture, upload it to Flickr, and add it to our group. One step down, two to go!

Artworks Shown:

  • Martin Delabano, Family Portrait 1963, 2001, Dallas Museum of Art, gift of Mr. and Mrs. Bryant M. Hanley, Jr., Lorine and David H. Gibson, and Sonny Burt and Bob Butler.
  • Barney Delabano, Portrait of Papa, 1972-73, Dallas Museum of Art, Barney Delabano Memorial Fund and gift of the Delabano family.
  • Wreath, Greek, 4th century B.C., Dallas Museum of Art, Museum League Purchase Funds, The Eugene and Margaret McDermott Art Fund, Inc., and Cecil H. and Ida M. Green in honor of Virginia Lucas Nick.

Jessica Fuentes
C3 Gallery Coordinator

Friday Photos: Animal Guardians

The Indonesian galleries are probably the safest area of the Museum, and I don’t say this because there are nearby fire extinguishers or emergency exits. These rooms, particularly the south Indonesian gallery, are protected by a multitude of ferocious animal guardians.

The aso is a mythical animal that combines the strengths and characteristics of a dog and a dragon. This pair of aso, carved from wood, are both regal and elegant with their upright, smooth bodies, and yet intimidating with their dragon-like spirals and bared teeth.

Pair of mythical animals (ask)

Pair of mythical as0, Kayan people, Malaysia, 19th century, Dallas Museum of Art, The Roberta Coke Camp Fund and the Museum League Purchase Fund

The body of two conjoined aso form the handle of a door, which served as a protective barrier in a traditional Kayan longhouse.

Door with protective symbols, c. 1850-1900, Indonesia, Dallas Museum of Art, The Roberta Coke Camp Fund, 1997.111

Door with protective symbols, Kayan people, East Kalimantan, Indonesia, c. 1850-1900, Dallas Museum of Art, The Roberta Coke Camp Fund

One more work of art, not pictured here, also features carved aso. Come to the DMA and look for the aso‘s signature spiral forms, serrated teeth, and ivory eyes. If you visit during a week that the Pop-up Art Spot is stationed in the south Indonesian gallery (for instance, July 9-14), be sure to pick up a scavenger hunt so you can find the other animal guardians in Indonesian works of art.

Melissa Gonzales
C3 Gallery Manager

Marfa State of Mind

marfa

Marfa, Texas is more than just those mysterious lights (though they are pretty magical). I was lucky enough to visit the artistic oasis recently, and though I never left the state of Texas, I truly felt like I was transported to another place and time. Marfa is a small city located in the high desert of far west Texas, near Big Bend National Park. Founded in the early 1880s as a railroad stop, the town was transformed into a cultural destination thanks to artist Donald Judd. Upon relocating to Marfa from New York City in 1971, Judd acquired the decommissioned Fort D.A. Russell and began transforming the site’s buildings into exhibition spaces. His intention was to create a location in which he could permanently install his artwork and present it to the public.

It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again.” –Donald Judd

Judd’s ideas took shape as The Chinati Foundation formally opened to the public in 1986. When I first visited the museum I was struck by the absolute vastness of the space.

The Chinati Foundation

The Chinati Foundation

The Chinati Foundation is located on 340 acres of land. The art collection includes 15 outdoor concrete works by Donald Judd, 100 aluminum works by Judd housed in two converted artillery sheds, 25 sculptures by John Chamberlain, an installation by Dan Flavin occupying six former army barracks, and works by Carl Andre, Ingólfur Arnarsson, Roni Horn, Ilya Kabakov, Richard Long, Claes Oldenburg and Coosje van Bruggen, David Rabinowitch, and John Wesley. Each artist’s work is installed in a separate building on the museum’s grounds. When Judd renovated the buildings, he attempted to retain the integrity of the original structures as much as possible, only adding components that he deemed necessary. One of these was windows: the walls of the converted artillery sheds feature floor to ceiling windows. This alteration maximizes natural light and space and allows the surrounding landscape to meet and converse with the aluminum boxes that reside inside the sheds.

The location of The Chinati Foundation site–named after the surrounding Chinati Mountains–was extremely important to Judd, who, as a minimalist artist, believed strongly in creating works which are inextricably linked with the surrounding landscape. Judd fell in love with the desert landscape surrounding Marfa, and saw it as the perfect space for his art. “Too often,” Judd said, “the meaning of a work of art is lost as a result of a thoughtless or unsuitable placement of the work for display. The installation of my own work, for example, as well as that of others, is contemporary with its creation, and the space surrounding the work is crucial to it. Frequently as much thought has gone into the placement of a piece as into the piece itself.” (Quote from the Judd Foundation)

Donald Judd, Untitled, 1988 Dallas Museum of Art, Museum League Purchase Fund, General Acquisitions Fund, H. Harold Wineburgh Fund and gift of an anonymous donor

My trip to magical Marfa opened my eyes to the artistic passion and work of Donald Judd, but on a larger scale, it also invited me to reflect upon the decisions behind how works of art are displayed. I think of Judd’s Untitled piece that the DMA owns: six symmetrically divided rectangular boxes forming a column over eighteen feet high, made from cool industrial surfaces. My only experience with this work of art is seeing it displayed inside the white walls of the DMA, alongside work from other artists.

The time I spent in Marfa not only made me wonder how this particular Judd work would look exhibited alone against a desert backdrop, but furthermore, it made me question whether more works of art should be exhibited in the Judd manner–surrounded only by works from that artist and in a structure that complements its artistic intent.

I now turn this question to the public: is there a work of art in the DMA’s collection that you would like to see exhibited differently? And if so, how would you like to see it displayed?

Artwork Shown:

  • Donald Judd, Untitled, 1988, Dallas Museum of Art, Museum League Purchase Fund, General Acquisitions Fund, H. Harold Wineburgh Fund and gift of an anonymous donor

Danielle Schulz
Teaching Specialist

Once Upon a Time…

Works of art are often seen as telling their own unique stories.  However, artists can also use stories as inspiration when creating artworks. For example, the story “How Wang-Fo was Saved” inspired the German artist Sigmar Polke to create his painting Clouds (Wolken). Check out a version of this story below:

Sigmar Polke, Clouds (Wolken), 1989, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and two anonymous donors

Once upon a time in a Chinese kingdom there lived an angry Emperor. When the Emperor was young, he was not allowed to leave the palace and explore the outside world. The young Emperor’s palace was decorated with the paintings of a very famous artist named Wang-Fo. Since the Emperor had never been outside, he thought that the world looked just like Wang-Fo’s beautiful paintings.

Finally, the time came when the Emperor was allowed to leave the palace. At first he was so excited, but his excitement quickly turned to disappointment. The real world was not nearly as beautiful to him as were Wang-Fo’s paintings. The Emperor believed he had been tricked and blamed Wang-Fo for his disappointment. He decided to punish Wang-Fo by tricking him as well.

The Emperor requested that Wang-Fo complete a painting he had left unfinished in the palace. Upon his arrival, Wang-Fo realized that it was trap. He immediately set to finishing his work, adding the sea at the bottom of a mountain. As he painted the water, the palace began to fill with actual water. Next, he painted a rowboat, and Wang-Fo could hear the oars splashing in the water. Wang-Fo quickly climbed into the boat!

The level of the water dropped and soon everyone in the palace came to see Wang-Fo’s finished masterpiece. In the painting they could see Wang-Fo in the rowboat slowly floating away from danger. Farther and farther down the river he rowed, until Wang-Fo disappeared and was never to be seen again. The End.

Concluding thoughts:

  • If you were to create an artwork inspired by “How Wong-Fo was Saved,” what would you choose to capture?
  • Do you think that Sigmar Polke’s Clouds (Wolken) effectively captured the story?  Was he focusing in on a particular moment or theme?
  • Are there childhood or family stories that you would want to commemorate through a work of art?

For more art-based stories, click on the links below:

Sacred textile (mawa') depicting tadpoles and water buffalo, early 20th century, Dallas Museum of Art, the Steven G. Alpert Collection of Indonesian Textiles, gift of The Eugene McDermott Foundation

Tadpoles and Water Buffalo

Takenouchi no Sukune and the Dragon King of the Sea

How the Moon got its Rhythm

The End!

Pilar Wong
McDermott Intern for Community Teaching

Collection Connections: The Body Beautiful

A beautiful thing is never perfect. – Egyptian proverb

The opening of The Body Beautiful in Ancient Greece: Masterworks from the British Museum has prompted an interesting dialogue on what qualifies as “beautiful.” Greek ideals have long influenced societal standards of beauty for both men and women, but many of the pieces in our permanent collection offer varied perspectives on this matter. Below are several such works of art that will hopefully challenge and diversify our concept of female beauty in particular.

Olowe of Ise, Kneeling female figure with bowl (olumeye), c. 1910 to c. 1938, Nigera, Effon-Alaiye, Yoruba peoples, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Olowe of Ise, Kneeling female figure with bowl (olumeye), c. 1910 to c. 1938, Nigera, Effon-Alaiye, Yoruba peoples, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

These types of containers, known as olumeye, are used in rituals of domestic hospitality for particularly distinguished guests. The word olumeye means “she who brings honor” and refers to the carved kneeling female figure presenting the bowl, which would have traditionally held kola nuts. Her long neck, oval-shaped face, and scarred back reveal Yoruba ideals of feminine beauty.

Yasuo Kuniyoshi, Bather with Cigarette, 1924, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds/City of Dallas (by exchange) in honor of Dr. Steven A. Nash.

Yasuo Kuniyoshi, Bather with Cigarette, 1924, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds/City of Dallas (by exchange) in honor of Dr. Steven A. Nash.

Though Yasuo Kuniyoshi’s bather does not portray the Italian Renaissance standards of beauty, her pose and the presence of the miniscule clamshell do recall Sandro Botticelli’s iconic Birth of Venus. This woman, however, flaunts her figure unapologetically, revealing a certain confidence and comfort with herself.

India, Doorjamb, 10th - 11th century, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and General Acquisitions Fund.

India, Doorjamb, 10th – 11th century, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and General Acquisitions Fund.

This carved doorjamb would have adorned one side of the entrance to a Hindu temple. The graceful, sensuous women at the bottom represent the Yamuna and Ganga Rivers and offer prosperity to the incoming worshipers.

Julie la Serieuse - Dubuffet

Jean Dubuffet, Julie la Serieuse, 1950, Dallas Museum of Art, gift of Mr. and Mrs. James H. Clark.

Jean Dubuffet states: “The female body, of all the objects in the world, is the one that has long been associated (for Westerners) with a very specious notion of beauty (inherited from the Greeks and cultivated by the magazine covers); now it pleases me to protest against this aesthetic, which I find miserable and most depressing. Surely, I am for beauty but not that one.”

Untitled 122 - Cindy Sherman

Cindy Sherman, Untitled #122, 1983.

Photographer Cindy Sherman, whose retrospective is currently on view at the DMA through June 9, 2013, received several fashion commissions throughout her career. These photographs subvert expectations by featuring a wide range of eccentric characters rather than traditional fashion models. She states: “The world is so drawn toward beauty that I became interested in things that are normally considered grotesque or ugly, seeing them as more fascinating and beautiful. It seems boring to me to pursue the typical idea of beauty, because that is the easiest or the most obvious way to see the world. It’s more challenging to look at the other side.”

Fertility Goddess - Syria

Syria, Fertility Goddess, late 2nd millennium BC, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark.

This kind of ceramic female figuring was quite common in Syria during the Bronze Age. The statuettes consist of standing frontal female figures that are nude, though usually wearing ornaments and headdresses. These common figurines were possibly votive offerings or amulets to a mother-goddess, and their form may have been influenced by cult statues in a temple.

The Body Beautiful in Ancient Greece will be on view through October 6, 2013. And be sure to check out the new self-guided tour available in the exhibition, Beauty Beheld, to further explore the complex concept of beauty within the DMA’s permanent collection.

Alex Vargo
McDermott Education Intern for Gallery Teaching

The Spot for Art

Over the last few years, DMA visitors may have come to know the drop-in art making area in the Center for Creative Connections as the Space Bar, a name that corresponded with our Encountering Space exhibition. If you’ve come into C3 lately, you probably noticed that we like to make strong connections and keep things fresh. When it was known as the Space Bar, this area offered materials loosely based on works of art in the C3 Gallery. Every month we changed the materials to focus on a new theme related to the concept of space.

2001_358_A_F

Martin Delabano, Family Portrait 1963, 2001, Dallas Museum of Art, gift of Mr. and Mrs. Bryant M. Hanley, Jr., Lorine and David H. Gibson, and Sonny Burt and Bob Butler

Now known as the Art Spot, this area still offers art-making for anyone, anytime, but the focus is now on a specific artwork. Since November 2012, Martin Delabano’s Family Portrait 1963 has provided inspiration for our visitors. The complexity of this piece allows us to explore various themes over an extended period of time.

In November and December, we encouraged visitors to better understand the characters within the sculpture and consider the clues the artist has given us by the items associated with each family member. Visitors could use the materials provided to create their own 3D Family Portrait.

During January and February, we focused on the sculptural aspect of this piece and the assortment of materials the artist used.  Our visitors used materials ranging from buttons to wood scraps to create Found Object Sculptures.

In March and April we took a closer look at the four-legged family member, Crackers, and asked visitors to make their own pet or an imaginary Pet Pal for the Delabano family pet.

Next month our theme changes once again. This time we are taking the perspective of the artist, who in 2001 portrayed his family and himself as they were in 1963. Martin Delabano isn’t the artist at the easel, rather he’s the young boy posing like our beloved “Big Tex” from the State Fair of Texas. Come by C3 in May and June to see Family Portrait 1963 and make a Past or Future Self-Portrait of your own.

Jessica Fuentes
C3 Gallery Coordinator

Collection Connections: Cindy Sherman

Cindy Sherman, the groundbreaking artist’s retrospective that spans her career from the mid-1970s to the present, is currently on view at the DMA through June 9, 2013. Her photographs derive inspiration from a myriad of sources, including television, film, art history, high society, and cultural stereotypes. These themes, influences, and connections that run throughout her work can also be explored in many seemingly unrelated artworks in the DMA’s permanent collection.

Photography
Like the work of many of her contemporaries, Sherman’s photographs operate in opposition to her modernist predeecssors, like Alfred Stieglitz, Paul Strand, Edward Weston, and Ansel Adams, who elevated form over content. Sherman, on the other hand, is more interested in how photography and images shape and exist within contemporary society. In fact, instead of identifying as a photographer, she sees herself as an artist who uses photography.

  • Cindy Sherman, Untitled Film Still #28, 1979, Dallas Museum of Art, gift of Fredericka Hunter and Ian Glennie, Houston. (left)
  • Paul Strand, Abstraction, Porch Shadows Connecticut (1915), negative 1915, print 1976, Dallas Museum of Art, gift of Joseph W. Gray, M.D. (right)

Female Contemporaries
Sherman cites several women artists, including Hannah Wilke, Lynda Benglis, Eleanor Antin, and Suzy Lake, as role models for bringing their own female bodies into their artistic practice. She also acknowledges the leading role that females, herself included, played in the formation of postmodernist work, observing: “In the later ’80s… what probably did increase the feeling of community was when more women began to get recognized for their work, most of them in photography: Sherrie [Levine], Laurie [Simmons], Sarah Charlesworth, Barbara Ess… There was a female solidarity.”

  • Sherrie Levine, After Man Ray (La Fortune): 6, 1990, Dallas Museum of Art, anonymous gift. (left)
  • Lynda Benglis, Odalisque (Hey, Hey Frankenthaler), 1969, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund. (upper right)
  • Hannah Wilke, Pink Champagne, 1975, Collection of Marguerite Steed Hoffman. (lower right)

Portraits and Self-Portraits
Though Sherman serves as the model as well as the artist, director, and producer for all her photographs, she is adamant that none of her photographs are self-portraits. In fact, she feels rather detached from the characters she portrays: “It’s not like I’m method acting or anything. I don’t feel that I am that person… I don’t become her.” Along with the varied works below, Sherman tests the traditional definition of portraiture and self-portraiture.

Cindy Sherman - Untitled #89

  • Cindy Sherman, Untitled #89, 1981, Dallas Museum of Art, General Acquisitions Fund.
  • Jackie Saccoccio, Portrait (Hermetic), 2012, Collection of Marguerite Steed Hoffman. (left)
  • Jackson Pollock, Portrait and a Dream, 1953, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated. (upper right)
  • Jim Dine, Self-Portrait Next to a Colored Window, 1964, Dallas Museum of Art, Dallas Art Association Purchase, Contemporary Arts Council Fund. (lower right)

Rococo Influences
Through her partnership with a Limoges porcelain house, Sherman produced a dinnerware and tea service set inspired by Madame de Pompadour. On the DMA’s soup tureen pictured below, Sherman appears dressed up as this famed and influential mistress of King Louis XV. The Museum’s Abduction of Europa was painted by Jean Baptiste Marie Pierre, the Rococo artist who was named First Painter to King Louis XV in 1770.

  • Cindy Sherman, “Madame de Pompadour (née Poisson)” soup tureen with platter, 1990, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund. (left)
  • Jean Baptiste Marie Pierre, The Abduction of Europa, 1750, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund.

Film
Sherman states: “Film has always been more influential to me than the art world.” In fact, her seminal body of work–the Untitled Film Stills produced from 1977 to 1980–visually recalls 1950s and 1960s Hollywood, film noir, B-movies, and works by directors such as Alfred Hitchcock, Michelangelo Antonioni, and Douglas Sirk. The two artists whose works are shown below found a similar inspiration in film.

  • Marlo Pascual, Untitled, 2009, Dallas Museum of Art, Lay Family Acquisition Fund. (left)
  • Luc Tuymans, The Man from Wiels II, 2008, The Rachofsky Collection and the Dallas Museum of Art through the DMA/amfAr Benefit Auction Fund. (right)

Alex Vargo
McDermott Intern for Gallery Teaching

Artful Eggs

The Easter holiday is almost upon us, and I for one am so excited to decorate Easter eggs! I am proof of the fact that this festive activity is for children and adults alike. Moreover, if approached in the right manner, decorating Easter eggs can be downright artistic. Beautiful eggs don’t require expensive materials or a BFA–in fact, all it takes to create some slamming shell designs is inspiration, imagination, and a few items found around the house!

Step 1: Boiling the eggs. Boiled eggs stand up better to the treatment required to decorate eggs (dyeing, drawing, wrapping). Place eggs in a medium sized pot and add enough water to reach about an inch above the eggs. Bring water to a roaring boil, remove from heat, then cover eggs for 15 minutes. Drain water, and allow eggs to cool. (This step can be accelerated a bit by placing eggs in a bowl of water in the refrigerator).

Drying rack made with flathead pins and foamcore.

Drying rack made with flathead pins and foamcore.

Step 2: Preparing the materials. As I said, artful eggs require simple materials: newspaper, food coloring, spoons, tongs, glass cups or mugs, white vinegar, a small paintbrush, tempera paint, hot water, Styrofoam board, and flathead pins. Placing flathead pins in a grid pattern on foam board creates a great drying rack for dyed eggs.

To mix colors, place 2 tablespoons of vinegar and 2/3 cup hot water in your cup along with 3 drops of food coloring. Add more drops to darken the dye. This is a great (albeit stinky) way to review color mixing with kids–experiment and see what fun colors you can come up with!

Step 3: Finding inspiration. Inspiration can come from a variety of sources, but for this year’s batch I’d recommend using the DMA’s permanent collection as a muse. The Museum’s encyclopedic collection provides a wealth of ideas, and, who knows, you might gain some artistic insight during the art-making process! When choosing works of art I looked for bright colors, simple shapes and bold lines, as these would lend themselves well to my oblong canvases. Here are the four works I decided upon:

Step 4: Decorate! Before diving into your artistry, wipe each egg down with some vinegar (this will prepare the shell for the dyeing process).  It was interesting to use works of art that employed different decorative techniques.

  • The Matisse egg was first dipped into an orange dye for two minutes (increasing the amount of time in the dye will lead to a darker color).  After the egg dried, a small brush with tempera paint was used to add blue and green leaves and red berries.

splat

  • To create the neutral background of the Pollock, the egg was dipped into orange and then blue dye (about 10 seconds each). I was then able to perform my own version of action painting!  With my paintbrush I flicked, splattered and flung watered-down black, white and grey tempera paint onto the egg. (Action painting can get messy, so newspaper comes in handy!)
  • Rothko’s contemplative color duo was completed by dipping the bottom of the egg in the orange dye (for about 30 seconds) and the top in red (30 more seconds). The egg should be left to dry between each dip. The middle portion of the egg was not taped, since I think the frayed edge caused by the dye enhanced the Rothko-style.
  • Completing the Mondrian egg took a little tempera paint and patience! Who knew that painting a grid pattern onto a rounded surface isn’t the easiest thing to do. With the straightest lines I could muster, I painted Mondrian’s primary color scheme onto the clean, un-dyed surface of the egg. It took a few layers of paint (left to dry in-between) to achieve more opaque colors.

Step 5: Display and Enjoy! 

Artful eggs. L-R: Henri Matisse, Ivy Flower; Jackson Pollock, Cathedral; Mark Rothko, Untitled; Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray

Artful eggs. L-R: Henri Matisse, Jackson Pollock, Mark Rothko, Piet Mondrian

These artful eggs are too good to keep to yourself!  Share your masterpieces with us through Facebook, Twitter, Flickr or even post them here on DMA Canvas–we’d love to see your DMA inspired works of egg-art! Now that you’ve completed your artwork the real question emerges: which will taste better, a Matisse or Pollock deviled egg?

Artworks Shown:

  • Henri Matisse, Ivy in Flower, 1953, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Albert and Mary Lasker Foundation
  • Jackson Pollock, Cathedral, 1947, Dallas Museum of Art, gift of Mr. and Mrs. Bernard J. Reis
  • Mark Rothko, Untitled, 1952,  Dallas Museum of Art, gift of the Meadows Foundation, Incorporated
  • Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. James H. Clark

Danielle Schulz
Teaching Specialist

Special thanks to Alex Vargo for her eggcellent work.

Cindy Sherman SmARTphone Tour

Cindy Sherman, a retrospective exhibition of the artist’s work from the mid-seventies to the present, opened this past weekend.  About 160 larger-than-life photographs fill up the Barrel Vault and its adjacent galleries. The majority of the photographs show the artist as model, posing in a variety of costumes and guises.

Sherman often creates her photographs in a series. In this exhibition, for example, you can see Sherman’s Untitled Film Stills, which were created to appear like snapshots of movie scenes, or her History Portraits that stylistically reference Renaissance, Baroque, Rococo, and Neo-classical portraiture.

Cindy_Sherman_Untitled_Film_Still_56

Cindy Sherman, Untitled Film Still #56

Before, during, or after a visit to the exhibition, check out the Cindy Sherman smARTphone tour. This tour includes audio commentary from MoMA curators and from Cindy Sherman herself about her work. It also includes ten video interviews, with artists and other art-world figures who are asked to discuss their favorite Cindy Sherman photograph. These offer a unique, personal perspective to work in the exhibition. Which Cindy Sherman photograph is your favorite?

sherman sp

The DMA offers free Wi-Fi in the galleries, so be sure to connect before accessing the smartphone tour for optimum access!

Andrea V. Severin
Interpretation Specialist

Artwork shown:

  • Cindy Sherman, Untitled Film Still #56, 1980, The Museum of Modern Art, New York, Acquired through the generosity of Jo Carole and Ronald S. Lauder in memory of Mrs. John D. Rockefeller 3rd © 2012 Cindy Sherman

I Could Have Danced All Night!

Artists take cues from the surrounding world when creating their own works of art.  Inspiration can come from any number of subjects including fashion, popular culture, and poetry.  The DMA is currently playing host to an exhibition titled, Chagall: Beyond Color, which features the artist’s paintings alongside his works in sculpture, ceramics, and collage. The DMA is the only US venue for this exhibition, so you definitely don’t want to miss it!

Marc Chagall never aligned himself with any single movement, but combined elements from various styles including Cubism, Fauvism, Symbolism, and Surrealism.  He also drew inspiration from his Jewish background, Russian upbringing, and many international travels.  While Chagall is most famous for his paintings, he also experimented with other media and venues.  For example, he designed and produced costumes and scenery for the production of the ballet Aleko, choreographed by Léonide Massine and set to the music of Pyotr Ilyich Tchaikovsky’s Piano Trio in A Minor.

Marc Chagall, A Wheatfield on a Summer's Afternoon, Study for backdrop for Scene III of the ballet Aleko, 1942, Acquired through the Lillie P. Bliss Bequest

Marc Chagall, A Wheatfield on a Summer’s Afternoon, Study for backdrop for Scene III of the ballet Aleko, 1942, Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest

Three years after the immense success of Aleko, Chagall worked on the stage curtain, sets, and costumes for Igor Stravinsky’s The Firebird.  The ballet, based on a Russian folktale, was restaged by the American Ballet Theater with choreography by Adolphe Bolm.

Marc Chagall, Model for the curtain in the first act of "The Firebird" by Stravinsky: The Enchanted Forest (Maquette pour le rideau de scène du 1er acte de "L'Oiseau de feau" de Stravisky: La forêt enchantée), 1945, Private collection, Paris

Marc Chagall, Model for the curtain in the first act of “The Firebird” by Stravinsky: The Enchanted Forest (Maquette pour le rideau de scène du 1er acte de “L’Oiseau de feau” de Stravisky: La forêt enchantée), 1945, Private collection

Marc Chagall is not the only artist to have been inspired by the passionate art form of dance.  As a strong cultural element, dance can be found represented in a variety styles throughout history and across geography.  Below are some examples of works in the DMA collection that also draw inspiration from various forms of dance.

Pilar Wong
McDermott Intern for Community Teaching


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