Dallas Museum of Art Uncrated

Archive Page 2

It’s All in the Family: The Earles in “Spirit Lodge”

For over a thousand years, Caddo peoples lived, traded goods, made art, and grew crops in communities clustered around rivers in present-day Texas, Louisiana, Arkansas, and Oklahoma. They, like other Mississippian peoples, constructed earthen mounds that marked and shaped their landscape for political and ceremonial purposes. You can visit and learn more about three of those mounds at the Caddo Mounds State Historic Site in East Texas.

Colonization and colonialism dealt blow after blow to the Caddo, with epidemic diseases, forced removals to reservations, and the boarding school system all threatening the continuation of knowledge within Caddo communities. Many traditions survived through the concerted efforts of Caddo knowledge keepers, and others, though disrupted, have now been revived and revitalized through the work of contemporary artists and other cultural practitioners.

Among those artists are brothers Chad “Nish” Earles and Chase Kahwinhut Earles and their father, Wayne “Tay Sha” Earles, all of whom have artworks featured in Spirit Lodge: Mississippian Art from Spiro (on view through August 7, 2022).

_{Tah-nah-hah “Buffalo,” Chad “Nish” Earles, Caddo, 2018. Acrylic on maple skateboard deck}

Academic and professional experience in art and graphic design, a background in graffiti art, and deep engagement with Caddo history and traditions have all shaped Chad’s art. These varied influences are visible in his piece in Spirit Lodge, Tah-Nah-Hah “Buffalo,” a hand-painted skateboard deck featuring his characteristic bold lines and creative use of negative space.

_{Horse tripod vessel (Deé-Tumbah Kah’-Wis), Chase Kahwinhut Earles, Caddo, 2015. Ceramic. National Cowboy & Western Heritage Museum, 2018.12}

Chase’s Batah Kuhuh alligator gar fish effigy bottle, acquired by the DMA in 2020, welcomes visitors into the exhibition. After its acquisition, Chase and Dr. Michelle Rich, the DMA’s Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, had a conversation about his ceramic practice, which can be found here.

When you enter Spirit Lodge’s galleries, you’ll find not one, not two, but three additional works by Chase—two more of his ceramic vessels and one collaboration with Muscogee painter Starr Hardridge. The intricately incised designs on many of Chase’s pieces, as seen on Deé-Tumbah Kah’-Wis above, reflect his own spin on motifs used by pre-contact Caddo potters. Jeri Redcorn, the Caddo pottery revivalist, helped him start working in uniquely Caddo styles.

Inspiration isn’t only flowing from the older generations to the younger though—while Wayne had loved art since he was a child, his interest in stone carving was sparked by going to art shows with his sons (and some encouragement from Chase and Chad!). The stunning ceremonial weaponry featured in the exhibition is a testament to his rapid mastery of the art form. And there’s an extra layer of family connections—Wayne’s ceremonial mace shares a title with Chad’s skateboard deck, and his monolithic axe—like Chase’s effigy bottle—is in the shape of a gar fish.

_{Left: Ceremonial mace (Tah’-nah-ha—Buffalo), Wayne “Tay Sha” Earles, Caddo, 2018. Stone. National Cowboy & Western Heritage Museum, 2019.34.1
Right: Monolithic axe (P-i-ta-u-ni-wan’-ha—To Have Power), Wayne “Tay Sha” Earles, Caddo, 2018. Stone. National Cowboy & Western Heritage Museum, 2019.34.2}

Join us for the Late Night event on March 25 to see Chad along with the Caddo Culture Club exhibiting traditional Caddo dances, Chase demonstrating his potting, and many other artists and knowledge keepers sharing their expertise. And of course, come experience the Earles family’s incredible art in person in Spirit Lodge: Mississippian Art from Spiro!

Becca Merriman-Goldring is the McDermott Intern for Arts of the Americas at the DMA.

Behind the Scenes: Installing Senga Nengudi’s “Water Composition I”

Published March 22, 2022 Behind-the-Scenes , Conservation , Contemporary Art , Exhibitions , Staff , works of art Closed
Tags: Art, Dallas Museum of Art, DMA

Influenced by Black cultural traditions and Japanese Gutai, artist Senga Nengudi’s work synthesizes multiple ideas circulating in the 1960s and 1970s: feminist practice, the role of materiality, and the relationship between activation, viewership, and performance. In her sculpture Water Composition I, currently on view in Slip Zone, Nengudi encloses colored water in plastic, creating a body-like form.

_{Senga Nengudi, Water Composition I, 1969-1970/2019, heat-sealed vinyl and colored water, TWO x TWO for AIDS and Art Fund}

We asked Senior Preparator and IPM Coordinator Mary Nicolett what stood out to her about her experience installing this abstract work. Here’s what she had to say:

First priority upon being approached to work with Fran Baas, Interim Chief Conservator, on the Nengudi was sourcing two 2-gallon jugs for filling the piece.

Once that had been done, we set about opening the contents of the packing tube. There I found a beautiful rope, tubing and funnels, pre-filled dye containers with pre-measured amounts, and of course the plastic “bags.” Also included, and very important, was the template for placement! We were able to figure out exactly where on the platform the piece would go, and it detailed the exact pinpointed location of each PVC bag including position of the heat-sealed-seam.

It took a while to truly understand the tubing and funnel system. What I wasn’t prepared for was how exquisitely this PVC bags where packed, in order of installation, one by one. Preparators often wish for things to be packed better, but this was a thing of beauty!

Fran and I set about the morning hooking the tubes into each bag and filling with the prescribed amount of dye mixed with the prescribed ionized distilled water. It was “slow and steady wins the race” and we did not spill a drop! Each funnel was marked with tape on the wall, as to which bag the tube went to, just to avoid any possible confusion.

After all the bags were filled, Fran and I began removing bubbles in the bags by gently thumping each bag until the bubbles moved to the top.

A bit of tape removal, sweeping, touch-up paint, and we were done! And it looks marvelous!

Come see this work for yourself in the free exhibition Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia, on view now through July 10, 2022.

Mary Nicolett is the Senior Preparator and IPM Coordinator at the DMA.

Q&A with Yonavea Hawkins, Caddo Beadwork Artist

Published March 21, 2022 Dallas , Guest Blog Post , Late Nights , works of art Closed
Tags: Art, Artist, Artist Interview, Beadwork, Caddo, Dallas Museum of Art, DMA

Yonavea Hawkins is an artist who creates intricate beadwork for Native American and Caddo cultural items. We are delighted to have her participate in the upcoming Late Night celebrating the new exhibition Spirit Lodge: Mississippian Art from Spiro, during which she will showcase several of her pieces and talk about her process and the connection between traditional and contemporary beadworking. Read our special Q&A with her to learn more about her practice ahead of the event on March 25!

_{Yonavea Hawkins working on a belt on a loom during a “Live Bead” on stage at an event.}

How did you begin creating art?
As a child I was always drawing and painting, with art class in school being my favorite subject, then to obtaining a fine arts degree from Oklahoma City University and started working as a graphic designer. Eventually my 8 to 5 creative jobs morphed into print quality control with organized paperwork of meeting deadlines and budgets. Then and now with a full-time job, evenings and weekends are my creative times. Working from a small desk, my present work evolved from learning to sew and bead to make Caddo regalia for myself, my children, and then Native American regalia for others. Now I create a variety of bead work, cultural items, or diverse art with different beading techniques for juried art markets with competitions. Changing from pencil and paint to beads and buckskin became new mediums to work in and another way to express myself creatively.

_{Hawkins completing beadwork on a commissioned piece while in her booth at an art market.}

The words “contemporary” and “traditional” carry a lot of weight when describing Indigenous arts. Where do you situate your work?
For my work it’s a combination of contemporary and traditional because of the materials used and the design elements, to the construction of the finished work. Contemporary because of the use of the current Charlotte bead colors and todays materials to bead on. Traditional, when I find the materials online to buy as I am an urban Native American without access to harvest and collect traditional materials once used. The use of glass bead work starts from European contact as beads, wool and silk were trade goods to Indigenous peoples, and these trade goods became traditional for some Indigenous peoples. Beading techniques developed for using trade beads and used today holds the traditional look, but in contemporary colors and designs, unless you find a stash of antique beads.

Tell us about some of the work you’re showing at DMA’s Late Night.
Several years back, a collector of my art told me that my beadwork was “Wearable Art”. As such a great deal of my work created for art markets are bracelet cuffs, contemporary beaded belts, belt buckles, hair barrettes, necklaces, and hatbands. After attending an art market, I never know what work will sell out and what I will be creating next, but I plan to show a variety of pieces mentioned earlier. I will also show cultural items that have won awards at art markets such as moccasins, turtle shell purses, bandolier bags, and pipe bags.

_{Work in progress of a smoked buckskin pipe bag with a Southeastern eagle on the front.}

________

You can find out more about Yonavea Hawkins in this recent artist interview. Don’t miss out on our Late Night celebration on March 25, featuring artist demonstrations, art making, performances, films, and talks about the exhibition Spirit Lodge: Mississippian Art from Spiro, and more! Get tickets here.

The Women of the Museum School

Published March 3, 2022 Archive Closed
Tags: Dallas Museum of Art, DMA

_{Margaret Hull taught children’s classes at the Museum School from 1957-1970.}

Arts education has been an important feature of the museum since its founding in 1903. The Dallas Art Association held lecture series and programs featuring the artists, collectors, and art historians of the day to educate members on art and to promote collecting. After the first professional director was hired in 1929, the adult education offerings expanded to include director-led art history lecture series and gallery talks.

Educational offerings were extended to children in 1937 when Director Richard Foster Howard started the school tour program with the Dallas Independent School District and a program of free Saturday art classes for children. By 1940, Maggie Joe Hogue, first head of the education department, reported that the DMFA’s education programs were unique in that they focused on creative teaching where most other museums confine their teaching to appreciation.

The creative teaching element was formalized with the founding of the Museum School in 1941, which offered a variety of art classes for children and adults. A number of well-known Dallas artists taught at the Museum School including Octavio Medellin (see exhibition and library case), Otis Dozier, Merritt Mauzey, and Roger Winter. But as this is Women’s History Month, let’s focus on a few of the women artists who taught at the Museum School.

_{Left: Barbara Maples working with two students
Right: Barbara Maples, Plastic Boxes 2, c. 1967–1968, gelatin silver print, Dallas Museum of Art, Texas Artists Fund, 2009.5}

Barbara Maples (1912-1999) was painter, printmaker, photographer and educator. She began her career teaching elementary and secondary art for the Dallas Independent School District from 1937-1964, and concurrently taught children’s classes at the Museum School from 1940-1954. She went on to become Professor and Head of the Department of Art Education at Southern Methodist University from 1965-1978. Maples had three one-person exhibitions at the DMFA in 1941, 1944 and 1947, in addition to having her works selected for or included in at least 38 exhibitions at the museum. Three prints and one photograph are in the permanent collection.

_{Left: Lucille Jeffries working with students
Right: Lucille Jeffries, Bouquet, n.d., color linoleum cut, Dallas Museum of Art, gift of Mrs. C.P. Wright, 1964.65}

Lucille Jeffries (1903-1950) was a painter and graphic designer. She taught children’s classes at the Museum School in the 1940s, while also teaching at Mt. Auburn School in Dallas. She also had three one-person exhibitions at the DMFA in 1941, 1943, and 1947, and had work included in over 25 juried or group exhibitions. Twenty-five of her lithographs, watercolors and linoleum cuts are in the permanent collection.

_{Left: Evaline Sellors offered Adventures in Clay to the young artists in her summer classes, 1960s.
Right: Evaline Sellors, Bowl, c. 1951, glazed stoneware, Dallas Museum of Art, gift of the Craft Guild of Dallas, 1951.65}

Evaline Sellors (1907-1995) taught adult pottery and ceramic sculpture classes at the Museum School in partnership with the Craft Guild of Dallas from 1950-1968. She also taught children’s classes at the Fort Worth Art Center, and designed costumes and puppets. Her work was included in over 20 juried exhibitions held at the DMFA and was featured in an exhibition of Fort Worth artists with two others in 1934. Two works by Sellors are included in the DMA’s permanent collection.

_{Left: Mary Doyle working with students
Right: Mary Doyle, Texas Oranges, 1953, serigraph, Dallas Museum of Art, gift of the artist, 1954.3}

Mary Doyle (1904-2000) was a printmaker, painter and watercolorist, but her favorite mediums were serigraphy and silk screen. Doyle taught children’s painting classes at the Museum School from the 1940s-1960s, later joining the museum full time as Education Director and Registrar. She also taught art for the Dallas Independent School District from 1935-1972. Doyle had work selected for 10 juried exhibitions held at the DMFA, and two works in the permanent collection.

These are just three of the many women who taught at the Museum School from 1941 to its closure in 1970. Others include: Eloise Blondel, Dorothy Brake, Caroline Daniel, Ellen Dennis, Carolyn Dodson, Sybil Edwards, Patsy Eldridge, Ann Cushing Gantz, Estella Henkel, Wanda Hill, Margaret Hull, Frances Jenkins, Annelies Kahn, Dorothy Kay King, Rita Mallett, Virginia Oechsner, Martha Jane Reed, Coreen Spellman, Jane Stare, Ruth Tears, and Peggy Wilson.

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

Connections Across Collections: Love is in the Art

Published February 14, 2022 Curatorial , works of art Closed
Tags: Art, Dallas Museum of Art, DMA, Valentine's Day

Love is in the air—and in the art at the DMA! Take a look below to see our staff picks of art that we heART in celebration of Valentine’s Day.

_{Wedding vase with butterflies, Mary Louise Eteeyan, Jemez Pueblo,} _{1975–2000. Ceramic. Dallas Museum of Art, gift of Dr. and Mrs. Robert I. Kramer, 2014.43.18}.

Becca Merriman-Goldring, McDermott Intern for Arts of the Americas
Each spout of a Pueblo wedding vase represents one spouse; the two are joined by a bridged handle to form a continuous whole. Mary Louise Eteeyan emphasizes that significance in the decoration of this vase, with two butterflies coming together over a single basket of corn.

_{Wedding ring, department of San Marcos, San Pedro Sacatepequez, Guatemala, Maya — Mam, probably 1930s or 1940s. Dallas Museum of Art, the Patsy R. and Raymond D. Nasher Collection of Maya Textiles from Guatemala, gift of Patsy R. and Raymond D. Nasher, 1983.524}.

Dr. Mark A. Castro, The Jorge Baldor Curator of Latin American Art
There are several wedding rings, like this one, in the Museum’s collection of Maya textiles from Guatemala. We don’t know if they were ever used, but perhaps they might bring you good luck if you’re popping the big question this Valentine’s Day!

_{John White Alexander, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer), 1901–1902. Oil on canvas. Dallas Museum of Art, gift of the Pauline Allen Gill Foundation in memory of Pauline Gill Sullivan, 2007.36}.

Martha MacLeod, Senior Curatorial Administrator and Curatorial Assistant for American Art
John White Alexander painted Dorothy’s portrait shortly before she married Langdon Greer. It was possibly a gift for her soon-to-be husband. The composition includes her beloved Irish Setter, Shamrock. Artists often include dogs in paintings to symbolize fidelity and devotion.

_{LaToya Ruby Frazier, Grandma Ruby’s Refrigerator, 2007. Gelatin silver print. Dallas Museum of Art, Lay Family Acquisition Fund, 2018.37}.

Hilde Nelson, Curatorial Assistant for Contemporary Art
In her series The Notion of Family, Frazier centers three generations of women—herself, her mother, and her grandmother. Here, the artist honors her grandmother; the fridge covered with the proud matriarch’s family memorabilia conveys their loving bond.

Stretching Ed Clark’s “Intarsia”

Published February 7, 2022 Behind-the-Scenes , Conservation , Contemporary Art , Staff , works of art Closed

Ed Clark is an American abstract expressionist and pivotal Black artist in the DMA’s collection who experimented with shaped canvases. His large-scale painting Intarsia is on view for free in the exhibition Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia. To create this work, he laid raw canvas on the floor, poured acrylic paint directly on the surface, and spread it across the canvas with a push broom in a performative process. The title of this painting refers to a knitting and metalworking technique used to create fields of different colors that appear to blend in and out of one another. Combined with the elliptical shape of the canvas, which Clark saw as evocative of the shape of an eye, the radiant colors give the overwhelming sense of an expanding, pulsating image. Find out how our team of art conservators and preparators worked to preserve this work’s thick layers of paint by stretching the canvas before displaying it.

From Laura Hartman, Paintings Conservator at the DMA:

It was a true team effort—the painting measures over 5 meters by 3.5 meters, and weighs over 200 pounds! This painting is unique in that the artist has applied so many layers of paint that the paint is in fact thicker than the canvas, which changes the entire physics of the work. It has also traditionally been shown pinned directly to the wall, which was possible in 1970 when it was painted, but now the work has aged and needs a new approach to ensure longevity.

We worked directly with a stretcher maker in New York to design a stretcher that would hold the weight of the piece while remaining thin, giving the appearance that the work is pinned to the wall.

I worked with our preparators to create edge extensions, or a strip lining, and attach these to the back of the work to be able to stretch it while retaining the illusion of pinning. We first stretched a loose lining, which is a giant piece of canvas that acts as an additional support, and then carefully stretched the work onto the prepared stretcher, slowly increasing tension over several days to allow the paint to relax and release into a comfortable position. The work is now secure for the long haul, while retaining the artist’s original intention.

It took a lot of hands but we got it done! It takes at least 8 people to safely move the work, so all hands were on deck for this one!

DMA by Design

Published January 19, 2022 Archive , Dallas , DFW Closed
Tags: Dallas Museum of Art, DMA

January always marks a new year and new possibilities, and at this time almost 40 years ago, the DMA and the citizens of Dallas were looking forward to a brand-new museum and watching it grow from the ground up.

The site for the new museum, chosen in 1977, was in area north of the Central Business District, where it would serve as the anchor of a new Arts District for the city. This location had once been home to grand mansions facing Ross Avenue at the turn of the 20^th century, but by the 1930s and 1940s the area was dominated by car dealerships, tire and auto repair shops, and small machine shops.

_{Mansions along Ross Avenue, circa 1910}

_{Ross Avenue at Harwood Street, circa 1925. Photo from Park Cities: A Photohistory by Diane Galloway, page 51}

The design for the new museum building by architect Edward Larrabee Barnes was created in 1979. Barnes’s plan included a central concourse to connect museum functions, terraced galleries with internal courtyards and skylights for natural light, vaulted space for contemporary art, a sculpture garden, and a quiet continuous background that lets the artworks shine.

_{Edward Larrabee Barnes’s original design for the new Dallas Museum of Art, March 1979. The layout stayed generally the same, but the concourse became straight instead of stepped.}

_{Edward Larrabee Barnes rendering of the East façade (Harwood Street side) of the DMA}

The site chosen was not empty land, and the structures were still mainly automotive related, especially on the Ross and Harwood sides.

_{Northwest corner of Ross and Harwood, the current location of the DMA, looking north along Harwood Street with Ross Avenue in the foreground.}

The demolition of the existing structures began in September 1980, but in keeping with the January theme, the following image is from January 29, 1981.

_{J.W. Bateson Construction, Paula Lawrence photographer; DMA Archives, New Museum Demolition and Construction Progress Photographs}

Construction in January 1982:

^{J.W. Bateson Construction, Photos by Mel Armand Assoc; DMA Archives, New Museum Demolition and Construction Progress Photographs}

This above photo is the back of the Museum and Barrel Vault from St. Paul Street, looking southeast. The First United Methodist Church of Dallas can be seen in the background.

And circa January 1983—there weren’t process photos from January, so the interior view is from December 1982, and the aerial view is from February 1983:

_{J.W. Bateson Construction, photos by L.M. Dale; DMA Archives, New Museum Demolition and Construction Progress Photographs}

This staircase is in the center of the concourse; the first doorway on the left goes to Museum offices; the second doorway in the top center of the image leads to what is now the Arts of the Pacific on Level 3. The windows in the background are where the Hamon building now stands.

In this aerial view, the Sculpture Garden is still under construction on the left side of the image, and construction on the Reves and Decorative Arts galleries has not yet begun. And if you look really closely, you can see Woodall Rodgers Freeway in the top center, which was still a few months away from completion.

The building was completed and on January 29,1984 the new DMA opened!

_{North façade—This side was covered by the Hamon Building in 1993; but the stone-carved “Dallas Museum of Art” can still be seen on the 4th Floor, at the top of the stairs from the Concourse.}

_{Ceremonial Entrance at Harwood and Flora streets}

I am looking forward to what the coming year and the future brings for the DMA.

Hillary Bober is the Archivist at the DMA.

Medellín’s Masterpieces

Published January 10, 2022 Uncategorized Closed

The following is an excerpt from the exhibition catalogue for Octavio Medellín: Spirit and Form, opening for free at the Dallas Museum of Art on February 6, 2022.

_{Octavio Medellín. Courtesy of Bywaters Special Collections, Hamon Arts Library, Southern Methodist University. Photographer: Jay Simmons}

In 1978, the artist Octavio Medellín (1907–1999) wrote a short text that appears to have been the beginning of a book project that he later abandoned. Opening with a poem, The Masterpiece, presumably by the artist, … it reads as a stream of consciousness, unedited and without paragraph breaks. At times the text seems akin to an artist’s statement…. On the third page he writes:

“…we think of materials as purely a medium, I personally believe that materials have a soul of their own particularly if you are to work directly with them, each one is different than the other. My mission was to search in them their behavior so that I communicate with them and develop a sensitive feeling and become part of them, not to take for granted their natural formation but to be inspired and invent a form that is not entirely what’s there, but a mixture of both.”

Medellín’s artistic practice was defined by his exploration of the duality that he alludes to in this unpublished text. He demonstrated a drive to understand and master new materials, beginning first with wood, stone, and clay, later expanding to include various forms of glass and metalwork. At the same time, regardless of facture, Medellín’s work can be characterized by its animate qualities—pose, movement, etc.—that the artist harnessed to provoke an emotional response. This “spirit” comes in part, as Medellín points out, from the materials themselves.

Given his view that an artist’s spirit contributes to an object’s ability to engage its viewers, Medellín was understandably cognizant of the role of his own personal history and identity in his work and its reception. Throughout his almost seven-decade career, he utilized pivotal events in his life as sources of inspiration for his work, such as his experiences of the Mexican Civil War or his transformative trip to Yucatán to study Maya ruins.

Medellín’s philosophies were … also at the heart of his approach to teaching. Over the course of his career, he taught at numerous institutions across Texas, his repertoire of classes expanding alongside his own artistic practice…. Stories and anecdotes abound of his legendary ability to guide students, and of the lingering impact of their interactions with him. Within the city of Dallas, Medellín’s legacy as a teacher has in some senses overshadowed his importance as an artist, but in fact the two roles are intertwined and inseparable—his connections to his students were an important source of inspiration and creativity.

This catalogue, and the exhibition … seeks first and foremost to draw attention to Medellín’s work and his unique place within mid-twentieth century art in North America. A pivotal individual within a network of artists and cultural figures that contributed to the development of modern art in Texas, Medellín also had significant connections throughout the wider field of “American” art, as well as to leading figures within Mexican Modernism. Despite his position at the intersection of so many important groups, Medellín’s work remains relatively overlooked.… This project represents the most expansive assessment of the artist’s career to date.

Dr. Mark A. Castro is The Jorge Baldor Curator of Latin American Art at the DMA.

Eat Your Art Out: Fabulous Focaccia

Published November 10, 2021 Creativity , Dallas , DFW , DIY Tutorial , Just for Fun , works of art Closed
Tags: Dallas Museum of Art, DMA, Focaccia

Hungry for some art? Get creative in your kitchen! Master the art of making beautiful focaccia bread inspired by works in our collection. We recommend Samin Nosrat’s recipe for focaccia, which you can find here. Remember to plan ahead! This bread requires up to 14 hours to proof before baking.

Tips for making your focaccia:

When activating yeast, make sure water is lukewarm (between 105°–115°F).
After adding the brine, let it soak for at least 5 minutes before adding herbs and vegetables on top of the focaccia.
When creating your design, keep in mind that most vegetables will shrink during baking.
Practice re-creating your image on a piece of wax paper first. When you are happy with your design, transfer it to the focaccia dough just before baking.

_{Miniature Painting – A White-Eared Bulbul (Pycnonotus Leucogenys) Perched on a Rock Under a Slender Tree, 1671, work on paper, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.775}

Food used to re-create the artwork:

2 baby yellow sweet peppers
2 shallots
2 baby purple carrots
1 white radish
1 pink radish
Half of a red onion
Half of a yellow bell pepper
Half a cup pitted green olives
Half a cup pitted kalamata olives
Scallions
Cilantro leaves

_{Manji Inoue, Amalmon Inaiz XIII, Vase, n.d., glazed porcelain, Dallas Museum of Art, gift of Edward Mattil, 2012.28}

Food used to re-create the artwork:

6 cherry tomatoes
3 baby yellow carrots
3 baby purple carrots
1 red bell pepper
1 yellow bell pepper
1 shallot
Cilantro leaves
Chives

_{Mughal, Textile Fragment, 18th century, silk and metal embroidery, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.1282}

Food used to re-create the artwork:

1 beet, boiled, peeled, thinly sliced; cut with flower cookie cutter
Fresh rosemary sprigs
Crumbled blue cheese
Sunflower kernels for garnish on top of beets

_{Paul Poiret, Carpet, c. 1930, wool, Dallas Museum of Art, the Patsy Lacy Griffith Collection, bequest of Patsy Lacy Griffith, 2001.203}

Food used to re-create the artwork:

Red cherry tomatoes
Yellow cherry tomatoes
1 red onion
Minced garlic
Fresh rosemary
Optional: black olives

Highlights of “Pursuit of Beauty”

Published November 8, 2021 American Art , Collections , Curatorial , Dallas , Exhibitions , works of art Closed
Tags: Art, Dallas Museum of Art, DMA

Museum exhibitions serve different purposes. Some do heavy lifting in the field of new scholarship about unknown or understudied artists or cultures. Others may capitalize on strengths in the museum’s collection and, thereby, present a richer, contextual understanding of an artistic movement. And yet others present to our visitors works by artists that address gaps in our own permanent collection—a role beautifully fulfilled by the present exhibition, Pursuit of Beauty: The May Family Collection. I would like to focus on a few works and what—besides their apparent beauty—makes them special to me.

_{William Merritt Chase, Weary, c. 1889, oil on panel, The Collection of Eleanor and C. Thomas May, Jr., 114.2019.17}

_{Gertrude Fiske, Contemplation, before 1916, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr.}

Weary (1889), a small interior scene by William Merritt Chase is a quintessential example of the artist’s skills of observation that also provides us a peek into his well-appointed studio in Manhattan. Chase was not striving to make a narrative here. The subject is beauty alone—of a sitter placed within a beautiful setting full of patterns and textures. The large Japanese screen in the background, the plush velvet of the cushion beneath her feet, the sparkle of gilding on the armature of the chair, and the gleam of light on the large vase in the background at right, are all effects that lure and please the eye. A wonderful counterpoint to Chase’s creation is Contemplation (1915) by Gertrude Fiske, an artist trained in Boston. While it too presents a contemplative woman set in an interior, the artist is presenting to us a modern woman for the new age. Using complimentary colors of orange and green to frame the sitter, the crisp striped wallpaper effectively foregrounds her. Fiske further illuminates her with light flooding in from the upper left, which simultaneously bathes her face and torso in yellow that reflects off the material at the right edge.

_{Theodore Robinson, Miss Motes and Her Dog Shep in a Boat, 1893, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr.}

_{John Henry Twachtman, Frozen Brook, 1893, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr., 114.2019.12}

American Impressionism is underrepresented at the DMA and two works within the May Family Collection created in the exact same year offer comparison of two artists whose means (light & brushwork), achieved different ends. Theodore Robinson’s small canvas of Miss Motes and Her Dog Shep in a Boat (1893) is an oil sketch by the first and most important of the American Impressionists to paint alongside Monet at Giverny between 1886 and 1892. Robinson’s intent was to capture an individual in a fleeting moment and his quick touches of brushwork fix her at a point in time as well as evoking the optical effect of forms blurred in reflection on the dappled surface of the water. In Frozen Brook (1893), John Twachtman also endeavored to capture a particular moment, but his motivation was to capture the atmospheric and emotive effects of a winter’s day. His brushwork is more varied, complex, and labor intensive (daubed, scumbled, and dragged) to conjure the optical effect of heavy, wet snow on the cusp of spring, when all is blanketed in contemplative silence.

I do hope that you will come to the DMA to explore these five works for yourselves, along with the other twenty-three now on view.

Sue Canterbury is The Pauline Gill Sullivan Curator of American Art and Interim Allen and Kelli Questrom Curator of Works on Paper at the DMA.

« Previous Page — Next Page »

Dallas Museum of Art Uncrated

Archive Page 2

It’s All in the Family: The Earles in “Spirit Lodge”

Behind the Scenes: Installing Senga Nengudi’s “Water Composition I”

Q&A with Yonavea Hawkins, Caddo Beadwork Artist

The Women of the Museum School

Connections Across Collections: Love is in the Art

Stretching Ed Clark’s “Intarsia”

DMA by Design

Medellín’s Masterpieces

Eat Your Art Out: Fabulous Focaccia

Highlights of “Pursuit of Beauty”

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