Archive Page 129

Off the Wall: BOOM

In our Center for Creative Connections we ask visitors to reflect on their responses to the spaces they encounter in art, as well as those they encounter in their everyday life.

For one work of art specifically, Lee Bontecou’s Untitled, we ask visitors to respond to one of three prompts:

  • To me, sharing space with this work of art feels like…
  • The words or pictures that come to mind when I look at this work of art are…
  • If this work of art was part of something larger, describe what it would be.

Untitled (35), Lee Bontecou, 1961

We have gotten a lot of great responses from visitors and want to share a few with you. Once a month we will have an “Off the Wall” post featuring three responses left by visitors.

Next time you are in the Center for Creative Connections add your contribution to the wall and maybe you will see it on Uncrated!

Teaching for Creativity: Scribble Characters

Consider testing out this entertaining creativity exercise with your students or even with friends. (It’s THAT fun.) When Summer Seminar instructor, Magdalenda Grohman facilitated this exercise with this year’s participants, they had a blast with it.

  1. Every person should have a piece of paper and a writing utensil.
  2. Close your eyes. Keeping your pen or pencil on the paper, scribble for about forty-five seconds. Think about the mood you are in, and try to reflect that mood through your scribbles.
  3. Once everyone is finished drawing, open your eyes, and gather together all the scribbles. Shuffle the scribbles.
  4. Choose one scribble. As a group, think about and describe the scribble. What adjectives come to mind?
  5. Imagine that this scribble is a person. Who is it? What is his/her name? How old is he/she? What does he/she do for a living and/or for fun? What is his/her relationship with his family? What interesting events have occurred in his/her life? What is his/her biggest wish and/or greatest fear?
  6. Jot down the most important aspects of this person, and continue personifying the rest of the scribbles as a group.
  7. Once you have a set of scribble-characters, then randomly distribute one to each participant. Ask one participant to create a sentence to begin a narrative. The scribble-character in his/her hand must be involved in the narrative.
  8. The next person adds another sentence and another character to the narrative, until you have a funny, collaborative story that incorporates all of the scribble-characters.

Here are some of our scribble characters:

In what ways are you encouraging open-minded, creative attitudes and training transformative thinking in your classroom?

Andrea V. Severin
Coordinator for Teaching Programs

Lights, Camera, Action!

From 1950 to 1952, the Museum, in partnership with the Junior League of Dallas, presented a thirty-minute weekly television program on WFAA called Is This Art? The show consisted of a panel talking about topics including discussions on specific artworks, collections, or types of objects; demonstrations of craft techniques; how to become an artist; and aesthetics. We found a few images in our archives from the show’s two-year run.

Dallas Morning News, News Staff Photo, October 10, 1950

This image is probably from the first episode of the series, which aired on September 24, 1950. The show included an introduction to the series and a demonstration of plastic arts, emphasizing the upcoming State Fair exhibits with objects from the Contemporary Design and Pre-Columbian exhibitions. Pictured from left to right are Mrs. Betty Marcus, Museum League President; Jerry Bywaters, Museum Director; Stewart Leonard, Assistant to the Director of the City Museum of St. Louis; and Mrs. John Rosenfield, moderator.

The image above likely depicts an episode from December 8, 1951, featuring a demonstration of silver objects in various stages of construction by John Szymack, a silver craftsman with the Craft Guild of Dallas. Seen here from left to right are Mrs. Howard Chilton, chairman of the Junior League’s television committee; Mrs. Bruce Steere, Craft Guild member; Alvin Jett, permanent panel chairman; and John Szymack (seated).

Hillary Bober is the Digital Archivist at the Dallas Museum of Art.

Friday Photos: Creative Teens

Armed with tissue paper, construction paper, wire, and art straws, our Teen Docents were asked to complete a Creativity Challenge during their training last month.  Their challenge was to create a 3-D response to a 2-D work of art using only the materials provided to them.  They were not given any scissors, glue, or tape, and they had a time limit of forty minutes.  Their creations were quite impressive, and I hope you enjoy this peek at their finished products.

Shannon Karol
Manager of Docent Programs and Gallery Teaching

Red, White, and Blue

Some visitors to the DMA may have taken our self-guided tour Seeing Red, and loyal readers of our blog may remember a post we did back in December about works in our collection that are white. So while we have not focused on the color blue yet, we thought this would be a good day to share with you a few works in our collection that feature red, white, and blue.

Striped chevron bead, Drawn glass, Dallas Museum of Art, gift of The Dozier Foundation

Childe Hassam, Flags, Fifth Avenue, 1918, Watercolor, Dallas Museum of Art, Munger Fund, in memory of Mrs. George Aldredge

Anne Vallayer-Coster, Bouquet of Flowers in a Blue Porcelain Vase, 1776, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund and gift of Michael L. Rosenberg

Rufino Tamayo, El Hombre (Man), 1953, Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds [credit line published in 1997 DMA Guide to the Collections: Dallas Museum of Art, commissioned by the Dallas Art Association through Neiman-Marcus Exposition Funds]

Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. James H. Clark

Yves Tanguy, Apparitions, 1927, Oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Nancy O’Boyle

Jean Antoine Theodore Giroust, Oedipus at Colonus, 1788, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund

James Brooks, Quand, 1969, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Wassily Kandinsky, Boating (from Sounds), 1907-1911, 1913, Volume with thirty-eight prose poems and twelve color and forty-four black-and-white woodcuts, Dallas Museum of Art, Centennial gift of Natalie H. (Schatzie) and George T. Lee

Stacey Lizotte is the Head of Adult Programming and Multimedia Services.

Vacay at the DMA

Well folks, we have officially broken one hundred degrees, which means that the Dallas summer is really here. You may get a chance to escape the weather with a trip to cooler climates. But I am here to tell you that it is possible to beat the heat and enjoy a fun-filled day of play right here in Dallas! At the Dallas Museum of Art you can travel all over the world, eat any type of food your heart desires, and participate in creative activities without ever leaving downtown.

Here are some great ways to enjoy a DMA get-away:

Self-Guided Tours

With over 25,000 works of art at the DMA, chances are that you won’t be able to see everything in one day. But don’t worry, any of our bite-sized tours will show you how to have a quality experience at the DMA instead of a quantity one. You can choose from four different themes to match your interests, either by downloading and printing them at home or by asking the Visitors Service Desk for a copy.

smARTphone Tours

For a more customized experience, use your smartphone to access interactive content specific to each gallery.

Lunch

  • With a variety of lunchtime favorites, the bright and open Atrium Cafe is a great place to have a meal.
  • The Sculpture Garden is a perfect spot to relax, soak up some sun, and enjoy your lunch while surrounded by art.
  • Or try any one of the tasty and affordable food trucks just a couple of blocks away; they have something for everyone!

After Hours

  • If you are a late-nighter, you are in luck, because every Thursday Night the Museum stays open until 9:00 pm. You can enjoy a cocktail while listening to jazz music in the Atrium Cafe, or create an original work of art in the Center for Creative Connections.
  • Every third Friday of the month the Museum stays open until midnight, offering a variety of fun and free programs inspired by the Late Night theme of the month.

Need more ideas for engaging with the collection? Check out our list of 100 Experiences.

I’ll see you at the Museum,

Hannah Burney
Go van Gogh Programs Assistant

Let Your smARTphone Be Your Guide

For many of us, our smartphones are an integral part of how we interact with and even interpret the world around us. At the DMA, we’ve been using smARTphone tours as a tool to do precisely that–allow visitors to become actively engaged with works of art throughout the Museum.

In 2009, when smartphones were first becoming popular, the DMA decided to experiment with creating tours for visitors on them. The Museum offers free Wi-Fi throughout the building, so we went with a web-based application that would work on any web-enabled smartphone. We gathered videos and audio clips, images, and text related to thirteen works of art in the collection and made them accessible to visitors via smartphones. There is so much fascinating information that can’t be displayed on labels and wall texts, and that first tour demonstrated the exciting possibilities offered by the interactive and multimedia features. Since then, we’ve created smARTphone tours for special exhibitions and added many stops to our collection tour.

Currently on the DMA’s smARTphone tour, you can listen to audio and video introductions for more than seventy-five works of art, learn about the artists and cultures that created them, check out community response projects like poems and sound designs, and look through archival and contextual photographs. Personally, some of my favorite choices include watching Dr. Heather MacDonald discuss why Claude Monet’s painting The Seine at Lavacourt was a failure, listening to sound designs created by UTD students in response to our Indonesian jaraik, and perusing the photographs of Coco Chanel at the Villa La Pausa.

While our initial efforts were well received, in 2011 the Museum embarked on a new phase of development of the smARTphone tours program. We revamped the design and organization, created a feature that allows multiple staff members to publish content, and added over fifty-five new stops to the tour.

From the interface design to the production of content, the DMA’s smARTphone tours are created entirely in-house and bring together staff from many of the Museum’s departments including IT, Education, Curatorial, and Marketing. While IT and Marketing worked on the new look of the tour, staff from the Education and Curatorial departments decided which works of art should be included and developed content.  The new tour stops include over one hundred video and audio clips of curators speaking about works of art and artist biographies, and reflect the collaborative efforts of the various departments.

It was thrilling to see all of our hard work come to fruition when the new stops were released in February 2012 at the opening of the exhibition Face to Face: International Art at the DMA. The real highlight, though, is to see visitors using it. While conducting an evaluation of the smARTphone tour, I spoke with a mom and her twin 9-year-old boys, who said they had looked at every video in Face to Face and wanted to look at more when they got home!

Feedback from our visitors is especially important, and periodic evaluation has played an integral role in the development of the tours. From user experience to content, we’ve assessed visitor experiences with the smARTphone tours four times over the past several years. Each time we learn something new.

If you’re at the DMA or at home, be sure to check out the smARTphone tour at dma.mobi.

Laura Bruck is a museum consultant and also adjunct assistant professor of art history at the University of Dallas.

Texas-sized Free Day!

Howdy, Texas!  Around these parts, we’re all pretty familiar with a fella named Big Tex, an icon of the State Fair of Texas in Dallas’ Fair Park area.  If Big Tex could take a stroll across town, you know he’d be sure to mosey up for some fun at the DMA‘s First Tuesday on July 3.  He could add some flair to his bandana in the art studio, join a roundup for stories and songs about Texas, search for Texas artwork treasures throughout the Museum, and more!  From 11:00 am to 4:00 pm, the DMA will be bustling with activities for families and kid folks.  We invite you to bring your pardners for the celebration on Tuesday, July 3, and kick off the national holiday a little early with some Texas pride.  General Museum admission is FREE!

Texas artwork treasures featured in the slideshow include:
George Grosz, Cowboy in Town, 1952, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

George Grosz, Dallas Night, 1952, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift in memory of Leon A. Harris

George Grosz, Cattle, c. 1952-53, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

George Grosz, Cotton Harvest, Dallas (Cotton Pickers), c. 1952-53, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

Nicole Stutzman
Chair of Learning Initiatives and Dallas Museum of Art League Director of Education

We’ve Looked at Clouds

If you’ve come into the Center for Creative Connections (C3) within the past month you may have noticed a few changes in our space. Aside from new artworks in our Encountering Space exhibition, we have transformed one area into a Prototyping Station. What does that mean exactly? Well, in this space we use reproductions of works of art to engage our visitors in conversations. These conversations allow us to better understand visitors’ perspectives and inform our thinking in the development of exhibitions. For the past month, we have focused on three works of art from our collection.

We often have so much background information about a work of art that it is difficult to decide how much of it visitors need to know. There is a delicate balance between providing information and allowing visitors to learn through their own observations. While we did these tests, we only provided a minimal amount of information besides the image.

Our dialogues have included both face-to-face conversations and written responses to questions we’ve posed. We have documented these responses and decided to make word clouds to show you what we have received so far. Word clouds, or tag clouds, are a way of visualizing data. You enter text into a computer program, and it generates a visual representation of which words are repeated most often. The words that are used most often appear larger. Take a look at the following word clouds we generated based on visitors’ responses to the following:

“The title of this work of art is The Minotaur. Tell us what you know about the Minotaur.”

“We are looking for descriptive words for this work of art. List what comes to mind when you look at this picture.”

Marcel Dzama, “The Minotaur,” 2008, plaster, gauze, rope, fabric, chair, bucket, and paintbrushes, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, 2008.43.2.a-e, (c) Marcel Dzama

Jerry Bywaters, “Share Cropper,” 1937, oil on Masonite, Dallas Museum of Art, Allied Arts Civic Prize, Eighth Annual Dallas Allied Arts Exhibition, 1937.1

Visitors noticed many things, ranging from objects to emotions.Why is this process important? We want to gather input from visitors. Putting this testing area in the middle of the gallery allows visitors to see the process we use to develop interpretive components for a work of art. It also gives Museum-goers a chance to contribute information and a perspective that may be different from the staff’s, which is an important component of the C3 mission.

The next time you are at the Museum, stop by the C3 and share your responses in our new prototyping area.

Jessica Nelson is the C3 Gallery Coordinator at the Dallas Museum of Art.

An Introduction by Way of Road Trip

As the newest member of the DMA’s curatorial team, I thought I would take the opportunity to introduce myself to the online community. I am from Los Angeles and have been actively engaged with contemporary art in one way or another for the past ten years. While in Los Angeles, I worked as the director of Blum & Poe gallery and then as a Curatorial Assistant at the Museum of Contemporary Art, Los Angeles. Most recently, I’ve been working on my Ph.D. in art history at UCLA, and for the past year I was a Japan Foundation Doctoral Fellow, researching at the Museum of Modern Art, Tokyo. As the new Nancy and Tim Hanley Assistant Curator of Contemporary Art, I will be in charge of the ongoing Concentrations series, which organizes exhibitions of work by emerging and under-represented artists.

Gabriel Ritter, The Nancy and Tim Hanley Assistant Curator of Contemporary Art at the DMA

Being new to Texas, I thought a cross-country drive would be a great way to familiarize myself with my new surroundings. On our way from Los Angeles to Dallas, my wife and I decided to make a pilgrimage to the city of Marfa in West Texas, which the minimalist artist Donald Judd called home. As many of you know, the city houses both the Judd Foundation, which oversees the artist’s private estate, as well as the Chinati Foundation, which Judd founded as a contemporary art museum that presents large-scale, permanent public art installations by Judd and by artists Judd selected, including Carl Andrea, John Chamberlin, Dan Flavin, Roni Horn, Ilya Kabakov, and John Wesley, among others. For me, a highlight of our visit was the rare glimpse into Judd’s private life. Seeing his neatly organized studio spaces used for contemplation and his winter bedroom adorned with his collection of Native American jewelry and pottery was a treat. In addition, walking through Donald Judd’s untitled works in mill aluminum (1982-1986) was a transformative experience. Installed in two former artillery sheds, which Judd adapted specifically to house this installation, the work consists of one hundred unique sculptural iterations that utilize the same outer dimension of 41 x 51 x 72 inches. Natural light floods the two sprawling exhibition halls and reflects off the metallic volumes in a way that continues to change as you walk through the space.

Image credit: www.chinati.org

The road to Marfa (and ultimately Dallas) took us through Phoenix, El Paso, Midland, and Abilene. On the way, we stopped by Elmgreen and Dragset’s roadside installation titled Prada Marfa (2005), which feels as if it dropped out of the sky. Literally in the middle of nowhere, with miles and miles of open road to either side, the installation mimics the Italian fashion brand’s posh boutiques but is in fact a nonfunctional storefront. At first we almost missed it and drove right past it, but then I quickly turned around so we could grab a shot of this mirage-like space on the highway. If you ever find yourself on I-90, stop by and check it out.

Prada Marfa (2005)

All-in-all it was a fun road trip and a great way to see the Texas countryside. We also enjoyed some great Tex Mex cuisine and even caught a concert at the local bar in Marfa. Now that I am settled in at the DMA, this will hopefully be the first of many blog posts focusing on contemporary art. I look forward to your comments, and I hope to meet you during your next visit to the Museum.

Gabriel Ritter is The Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art.


Archives

Flickr Photo Stream

Categories