Search Results for 'gaultier'



Family Ties

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The Costantino Family

The Costantino family has been coming to the DMA for years, and we’ve had the pleasure of watching the children grow up with art as a regular part of their childhood. Mom Rose is a homeschooling extraordinaire with a background in play therapy who brings her children to the Museum at least twice a month. When the Family Programs team decided to experiment with the idea of kids creating activities for kids, we knew just who to turn to! The Costantino kids (above, ages 10, 6, 3 and 8), stepped into the role quite easily and helped us create a brand new Art to Go family tote that will soon be available for all visitors to check out and use in the galleries while at the DMA. Here’s a peek into life with these fantastic kids from their mom, Rose.

What was your first visit to the DMA with your children like?

The first time I took all four kids to the Museum, I was overwhelmed. I was worried that they would touch something they shouldn’t or act completely crazy. We stayed too long that first time. It felt like such a victory to even get there in one piece, that I wanted them to see everything.

What actually happened was the Museum guards were very nice and helpful. The kids loved all the different things to see. Then once we found Arturo’s Nest, we were hooked. The Nest is a super fun play room. It is a great way to end the day.

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Now that you’ve been coming regularly to the Museum for years, what has changed about the way you visit with your children?

We talk about what we are going to see before we get there. I try and weigh everyone’s opinion. We all enjoy seeing a new exhibit. We might take 10 minutes to walk through–the kids are eager to see what’s around the corner, so we walk through quickly. The next visit we might go back to the same exhibit to look at just one piece. Not trying to see it all in one visit is the best way we have changed our visits.

Painting like Monet at the Arboretum

Painting like Monet at the Arboretum

How have regular visits to the Museum influenced your children beyond the gallery walls?

They have become so confident in any museum setting. They recognize artists and their work in a variety of places. And, they love creating their own works of art!

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I know your kids have seen many different exhibitions come and go here at the DMA. What have been some of their favorites?

Some of their favorites include: The Body Beautiful in Ancient Greece: Masterworks from the British Museum, Nur: Light in Art and Science from the Islamic World, Jim Hodges: Give More than You Take, and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk.

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We specifically chose to feature your family as our “Guest Family Curators” for a new Art to Go Tote because we knew your children have a lot of experience interacting with art in a variety of ways. They know that there’s so much more to do at a museum than just stand in front of a painting! What was it like for you and the children to come up with ideas for other families to use in the Museum?

We had a blast creating this bag! The kids had tons more ideas. Art for them is an extension of play.

What piece of advice would you give to parents who feel like they don’t know enough about art to enjoy a visit to the Museum with their children?

Don’t be intimidated! When you take your child to the art museum, try to let your child lead. Think broadly. Look for colors, shapes or themes. Walk around and see what your child is drawn to. Take some of their ideas and try them out at home. Enjoy yourself and your family!

Thanks for sharing, Rose! The Costantino Family Favorites Art to Go tote will debut in early summer. Be sure to check it out and see what fun activities the kids came up with!

{All photos courtesy of Rose Costantino.}

Leah Hanson
Manager of Early Learning Programs

In the Stacks

This week is National Library Week, which makes it the perfect time to meet the Mayer Library’s new librarians, Jenny Stone and Kellye Hallmark.

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Jenny Stone, Librarian

Describe your job in fifty words or less. 
I’m the Librarian in the DMA’s art research library, a.k.a. The Mayer Library. I manage the day-to-day activities of the library, handle our interlibrary loan service, and help answer questions from staff and the public.

What might an average day entail?
On any given day, I might have reference e-mails to answer,  hunt down materials for research projects, purchase books, give a library orientation to a new staff member, or problem solve with Cathy Zisk, our cataloger, on how to handle an odd-shaped book.

How would you describe the best part of your job and its biggest challenges? 
The best parts of the job are the books!—and the cool things I learn about the collection and the Museum from various projects and questions we get. The biggest challenge: describing to visitors how to get from the Library to the European galleries.

Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum? 
I come from a family of librarians, so it was pretty much inevitable. And I can’t think of a better place to come to work every day than an art museum.

What is your favorite work in the DMA’s collection?
If I could stare at anything in the collection all day, it would either be Tatsuo Miyajima’s Counter Ground or Edouard Manet’s Vase of White Lilacs and Roses. Ask me tomorrow and I’ll have a different answer!

Is there a past exhibition that stands out in your mind as a favorite, or is there a particular upcoming show you’re looking forward to seeing?
The Fashion World of Jean Paul Gaultier was probably the most exciting and fun exhibition. The Mourners really opened my eyes to something new and unusual and beautiful, and Nur: Light in Art and Science from the Islamic World is very similar in that way.

Kellye Hallmark, Assistant Librarian

Describe your job in fifty words or less.
You can generally find me at the reference desk, where I assist both staff and visitors with locating materials, research, and a variety of questions associated with the Museum and our collection. Recently a PhD student from the University of Montana wanted to know what ancient sculptures we have that are made of serpentine or greenstone, and an ancestor of John Pratt had just discovered her lineage and called the library to see if his portrait by Ralph Earl was on view and to learn more about the work. I also manage our serial collection, as well as maintain and create artist files.

What might an average day entail?
Each day holds a new project or a new reference question, so it varies, but it is always something fun and interesting. Generally I am checking in new serials, scanning the papers for museum- or art-related news, and working on a special project, like researching Islamic art books for purchase.

How would you describe the best part of your job and its biggest challenges?
The best part of my job is being able to look at all of the new books and serials that arrive almost daily. I’m constantly learning about new artists, new shows, etc., and that is really fun. The biggest challenge is making myself put down all of those new books and serials—there just isn’t enough time to read it all!

Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum?
I always knew I would work in an art museum. I got my BA in Art History fully expecting to pursue a career as a curator, but my focus and passions changed and they led me to art librarianship, and I couldn’t be happier.

What is your favorite work in the DMA’s collection?
I’ve always loved San Cristoforo, San Michele, and Murano from the Fondamenta Nuove, Venice by Canaletto. I love his perspective and how so much of the painting is the sky. I love the Sculpture Garden as well; it’s such a great place to spend your lunch break and to see little kids play.

Is there a past exhibition that stands out in your mind as a favorite, or is there a particular upcoming show you’re looking forward to seeing?
Being fairly new, I have to say that the Edward Hopper exhibition that just closed was definitely a stand out—it was fantastic. I was also blown away by the Nur exhibition, and I can’t wait to see the Michael Borremans exhibition next year.

The Mayer Library is located on Level M2, and is open to the public Tuesday through Friday 11:00 a.m.-4:30 p.m. and Saturday noon-4:30 p.m.

Hillary Bober is the digital archivist at the Dallas Museum of Art.

Open Office: Public Relations

I’m the Public Relations Manager at the Dallas Museum of Art, and in my job I get to share information on all the fun and wonderful exhibitions, events, and art at the DMA with the public and press. You may have guessed from my office décor that I love penguins, Paris, and art. In the past few years, we have had three exhibitions that combine two of my favorite things, Paris and art: The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, Posters of Paris: Toulouse-Lautrec and His Contemporaries, and Chagall: Beyond Color. All we need now is an exhibition – and requisite poster – involving penguins, maybe themed around the DMA’s “Penguin” cocktail shaker (seen here).

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Kimberly Daniell is the Public Relations Manager at the DMA.

Indiana Jones in the Digital Age

Uncrated stopped by the IT Department and caught up with Jessica Heimberg, Senior Developer, to learn more about her role here at the DMA. She can typically be found hiding behind two large monitors on her desk.

Jessica Heimberg

Describe your job in fifty words or less.
I work in the Information Technology Department. My official title is Senior Developer, but I am more like the MacGyver of tech projects and all things IT. (For those of you who missed this TV series, MacGyver was a non-gun-toting secret agent who improvised gadgets to solve crimes.)

What might an average day entail?
It could start with an update meeting and nice espresso, courtesy of DMA Deputy Director Rob Stein, or it could start with a flooded closet and fried switches. Depending on the day, I may be writing code, managing a project, creating documentation, trouble-shooting software, (politely) arguing with a vendor, walking with the cable dudes through a dusty construction site, or trying to figure out why someone’s e-mail worked on their iPhone yesterday but not today. Actually, I think I just described my Tuesday a few weeks ago.

How would you describe the best part of your job and its biggest challenges?
The best part of my job is that by helping create new programs, and supporting the DMA and its staff, I get to play a public service role in my city, and that makes me proud. I feel more than ever that people need art, music, playgrounds, and parks.

One of the more challenging and equally exciting effects of working in a small department is that we have to manage a lot of IT without a lot of staff. This definitely forces efficiencies, and we get to apply real creativity to problem solving. By nature and training, I tend to create schedules and plans. I like to maintain order and do my best to make working on projects as low stress as possible, but as anyone who’s ever worked on ANYTHING knows, even best-laid plans can get monkey-wrenched, and I have learned that some of the best ideas come out of the rubble of an initial plan.

Growing up, what type of career did you envision yourself in? Did you think you’d work in an art museum?
I was going to be Indiana Jones—am I dating myself here? In a past life (yes, I am older), I worked in the fashion industry, and then in corporate settings, but always gravitated toward the arts, science, and nature to find balance and inspiration.

What is your favorite work in the DMA’s collection?
Just one? Not possible to pick just one.

Bill Viola, The Crossing, Chanel 1 - "Fire," 1996, two-channel video/sound installation, Dallas Museum of Art, Lay Family Acquisition Fund, General Acquisitions Fund, and gifts from an anonymous donor, Howard E. Rachofsky, Gayle Stoffel, Mr. and Mrs. William T. Solomon, Catherine and Will Rose, and Emily and Steve Summers, in honor of Deedie Rose

Bill Viola, The Crossing, Channel 1 – “Fire,” 1996, two-channel video/sound installation, Dallas Museum of Art, Lay Family Acquisition Fund, General Acquisitions Fund, and gifts from an anonymous donor, Howard E. Rachofsky, Gayle Stoffel, Mr. and Mrs. William T. Solomon, Catherine and Will Rose, and Emily and Steve Summers, in honor of Deedie Rose, (c) Bill Viola, Long Beach, California

I have always loved The Crossing, by Bill Viola. At my last job, at least once a week I would take lunch at the DMA and wander the galleries for an hour just to clear my head. I remember when the Viola was installed and how exciting it was to walk into this big, dark space and stand in front of the projection, watching. I visited the thing three or four times before realizing it had a whole other side! I fell in love with it a second time. I know it is a digital piece, but something about the scale and pace of it strikes me as very human, and it is comforting to me.

Bill Viola, The Crossing, Chanel 2 - "Water," 1996, two-channel video/sound installation, Dallas Museum of Art, Lay Family Acquisition Fund, General Acquisitions Fund, and gifts from an anonymous donor, Howard E. Rachofsky, Gayle Stoffel, Mr. and Mrs. William T. Solomon, Catherine and Will Rose, and Emily and Steve Summers, in honor of Deedie Rose

Bill Viola, The Crossing, Channel 2 – “Water,” 1996, two-channel video/sound installation, Dallas Museum of Art, Lay Family Acquisition Fund, General Acquisitions Fund, and gifts from an anonymous donor, Howard E. Rachofsky, Gayle Stoffel, Mr. and Mrs. William T. Solomon, Catherine and Will Rose, and Emily and Steve Summers, in honor of Deedie Rose, (c) Bill Viola, Long Beach, California

Is there a past exhibition that stands out in your mind as a favorite, or is there a particular upcoming show you’re looking forward to seeing?
Oh, gosh – so many! I thoroughly enjoyed the “blockbuster” exhibitions like Tutankhamun and the Golden Age of the Pharaohs and especially The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, but most of my favorites have been mounted by our own curatorial staff. I loved Coastlines: Images of Land and Sea, The Mourners: Medieval Tomb Sculptures from the Court of Burgundy, African Masks: The Art of Disguise, Omer Fast: 5000 Feet Is the Best, and the telling of a chunk of American history through Modernism in American Silver: 20th-Century Design. I think Nur: Light in Art and Science from the Islamic World, the Islamic art and culture exhibition opening in 2014, will be a stunner.

Jessica Heimberg is Senior Developer, Information Technology at the DMA.

Open Office: Decorative Arts and Design

Kevin W. Tucker is the Museum’s Margot B. Perot Curator of Decorative Arts and Design. He joined the Museum in the summer of 2003 and has curated acclaimed exhibitions such as Gustav Stickley and the American Arts & Crafts Movement and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. Take a peek inside Kevin’s DMA office:

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Art Is My Client

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

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

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

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

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

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

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

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

A Look Back at the 2011-2012 School Year

School is out for the summer! It’s amazing how quickly this busy year flew by. We’d like to take a moment to celebrate some of the accomplishments of this year, and look ahead to some of the highlights for next year.

Museum Visits

  • During the course of the year, we provided docent-guided tours to approximately 37,352 people.
  • The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibition brought in the most docent-guided and self-guided groups with a whopping 11,455 visitors.
  • This fall, we anticipate a large number of group tours for The Legacy of the Plumed Serpent in Ancient Mexico exhibition.  We begin taking requests for the 2012-2013 school year on August 1st, so don’t forget to sign up!

Loryn Leonard
Coordinator of Museum Visits

Go van Gogh Classroom Visits

Thank you docents, Go van Gogh volunteers, students, and teachers, for a wonderful year!

Hannah Burney
Go van Gogh Programs Assistant

Friday Photos: Designing Exhibitions Workshop

Last Saturday, a dozen teachers explored exhibition design in a half-day teacher workshop, slipping in and out of the galleries before the crowds waiting for one last look at The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk.  We were thrilled to have Jessica Harden, DMA Exhibition Design Coordinator, take us through various galleries she had designed. As we looked at the work, she enlightened us on the effect of design elements on visitor experience. It was especially exciting to hear Jessica explain her creative process for the Gaultier exhibition, which is full of imaginative elements, such as a satin-tufted display case and graffiti-filled walls!

The teachers spent the second part of the day designing mini exhibitions of works in the DMA’s collection. They considered lighting, wall color, interactive components, mood, and object and visitor safety, pinning their layouts and ideas to project boards. The teachers ended the day by sharing how their chosen design elements expressed the focus of their exhibitions. Here’s the breakdown of our Exhibition Re-design Project.

Enjoy these photos that capture some of our fun morning. Thanks to all the teachers who joined us on Saturday!

Andrea Severin

Coordinator of Teaching Programs

Help Wanted: Looking for a Few Good Interns

With all the amazing experiences you can have at the DMA, what could be better than learning about our work firsthand? Each September, DMA staff welcome a new class of McDermott Interns through the McDermott Internship Program. And thanks to the generous support of the Eugene McDermott Education Fund, we are even able to provide our fabulous interns with a stipend.

Although I may be a bit biased (I was a McDermott Intern last year), McDermott Interns truly are a vital part of the DMA. We couldn’t survive without them! Throughout their short nine-month stint at the Museum, they contribute to various projects, from exhibitions to tours to programming and beyond. We even make sure our interns get to experience other arts organizations around the Metroplex. It’s a smorgasbord of museum opportunities!

Two of the lucky interns from this year’s class are our very own Hannah and Jessica, who have blogged about some of there experiences with you here. I asked them a couple questions to get their perspective on being a McDermott Intern:

What has been your favorite part of the McDermott Internship so far?

Hannah: Definitely teaching. I love going into classrooms and interacting with the students; their energy, enthusiasm and curiosity is contagious. They are constantly reminding me why I am so passionate about art and teaching. I also really enjoy going to docent training lectures and discussions, because it gives me the opportunity to keep learning.

Hannah (center right) with local teachers during the Art and Fashion Teacher Workshop.

Jessica: My favorite part of being a McDermott Intern is being able to work with some of the friendliest and most dedicated people I have ever met. I have also really enjoyed learning about the DMA’s collection and fantastic exhibitions, and then passing on that exciting knowledge when giving tours.  It is so rewarding to know that you made someone’s trip to the Museum memorable!

In your opinion, what is one reason why someone should apply to be a McDermott Intern?

Hannah: One thing that is really unique about being a McDermott intern is that you get the chance to work really closely with one department, while also getting opportunities to collaborate and interact with the entire staff of the Museum. With guidance and support, you have many responsibilities within the department you are working for, and your days are filled with diverse tasks, activities and programs. No two days are the same!

Jessica: One word: EXPERIENCE! The staff at the DMA will ensure that you are given every opportunity to learn about the inner workings of so many different departments within the Museum. The DMA really values McDermott Interns as professional coworkers, not just as extra help. It is that kind of attitude that really makes being a McDermott Intern a wonderfully fulfilling experience.

If you or someone you know is interested in exploring a museum career, check out our Museum Internships page, which includes more information and a link to the 2012-2013 McDermott Internship application form. We look forward to your submissions!

Sarah Coffey
Assistant to the Chair of Learning Initiatives

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