Dallas Museum of Art Uncrated

Archive Page 33

Musical Musings

Published February 24, 2017 People , works of art Closed
Tags: European Art, European Galleries, Music, musicians, Pop-Up Art Spot

Think back to your favorite scene in a movie. Was it action packed? Romantic? Full of suspense? Chances are that the music—the film’s score—helped create the mood of the scene.

Now think about your favorite work of art. How would you describe its mood or feeling? How did the artist convey that mood? When we describe the mood of a work of art, we typically think about visual elements like color, the quality of the brushstrokes, and composition. But sometimes, even with a work of art, music can enhance your experience.

We recently paired up with two local musicians, Clint Niosi and Claire Hecko, and invited them to imagine one minute “film scores” for a handful of works of art in the 18th Century European Gallery. Meet the musicians, learn about their process, and hear a sample of their work below.

Tell us about yourselves-in 50 words or less.

Clint Niosi: I’m a songwriter, film score composer, and audio engineer from Fort Worth. I also work as a Digital Technology Specialist for the Art + Art History Department at UT Arlington.

Claire Hecko: INFP, musician, composer, picture maker, seamstress, cat lover and motorcycle enthusiast, among other things. My primary instruments are viola and bass. I like long walks in the desert and good manners.

How would you describe your process of creating a “score” for a work of art?

Clint Niosi: While I wasn’t really sure how to approach it initially, I ended up using basically the same process I would have used for a film score. I try to find the emotional core of the scene and use the music to help move the story forward. Once I feel like I’ve found the mood I add or take away layers until it feels right with the picture.

Claire Hecko: I have very little education in music theory, so I’m not entirely sure how to best describe my process. I consider the feelings I want to embody in a piece and try to determine how to best represent them musically. Often, this entails picking up an instrument and just playing around on it until I come up with something that will serve as a foundation for the piece. From there, I begin adding layers to build a complete composition.

Were there any challenges?

Clint Niosi: Yes there were. Creating a modern composition outside the historical milieu in which the paintings are set seemed very daunting. Also, the limited duration of the format (one minute per piece) was an additional challenge. Some of the paintings have very complex stories and complicated emotions to convey. Ultimately I just dove in and had fun with it.

Claire Hecko: My biggest challenge was creating the “score” for The Harp Lesson by Jean Antoine Theodore Giroust – I had many ideas, but no access to (or training to play) a harp. Thankfully, technology allowed me to replicate the sound of a harp on a laptop.

What did you enjoy most about this opportunity?

Clint Niosi: It was such a treat to have a chance to collaborate with the DMA. I’m an art enthusiast and a long time fan of the DMA’s permanent collection. The chance to dive into something like this is something I will always remember. It was a learning experience.

Claire Hecko: My degree is in Art History, a subject close to my heart. The opportunity to represent a work of art through music was very exciting for me!

Stop by the Pop-Up Art Spot this Saturday to check out an iPod and listen to the “film scores” composed and recorded by Clint Niosi and Claire Hecko.

Jessica Fuentes
Manager of Gallery Interpretation and the Center for Creative Connections

Emily Wiskera
Manager of Access Programs

Looking at Law

Published February 23, 2017 Behind-the-Scenes , Exhibitions Closed
Tags: Carey Young, Carey Young: The New Architecture, Dallas Museum of Art, DMA, McD2017, Palais de Justice

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins., 58 secs., Courtesy of the artist and Paula Cooper Gallery, © Carey Young

London-based artist Carey Young’s new video Palais de Justice is a cinematic glimpse into the Brussels courthouse of the same name. The video begins with a lone man walking down a vast staircase. Hands in the pockets of his track pants, he appears far more casual than the 19th–century architecture that surrounds him. Over time, the video shifts from distant shots of people walking through the interiors to more intimate views of female judges at work. Observing them through smudged portholes in courtroom doors, the camera captures the judges in moments of authoritative posturing during trials: they stroke their chins, remove their glasses, and gaze across the room deep in thought.

The women we see through the portholes are, in fact, actual judges and not actors. Young shot Palais de Justice “guerilla” style for three weeks over a period of two years, catching the daily activities that occurred throughout the building. She did not begin the project with a preplanned narrative but instead pieced her footage together afterwards to form a more poetic picture of the courthouse. Young especially wanted to highlight the presence of the female judges to subvert common assumptions about who holds the power of law. Rather than seeing men in charge, we see only women occupying these prestigious societal roles.

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins., 58 secs., Courtesy of the artist and Paula Cooper Gallery, © Carey Young

In a brief conversation, Young explained to me that Palais de Justice marks an artistic departure for her. While her work often takes the form of conceptual text, performance, and photography, the video is much more metaphorical and dreamlike. Young further explained that she wanted the video to highlight the intent of the architect to express the “sublime scale of the law.” This is apparent in how Young has installed the work inside the gallery: the projection takes up an entire wall and, as a result, immerses the viewer. Surrounded by a soundtrack of vocal echoes and footsteps playing alongside the video footage, one sees the landmark building itself as another character among the judges and courthouse visitors.

The Palais de Justice was designed by architect Joseph Poelaert in celebration of Belgium’s independence from the Netherlands. A massive structure—over 200,000 square feet with 27 large courtrooms—it remains one of the largest courthouses in Europe. For Young, the monumental qualities of the building made it a perfect case study for her ongoing meditations on the performative nature of law. The architectural elements, especially the oculi through which we gaze, draw attention to our own roles as witnesses to the law in action. It makes us think not only about the institution of law but also about who has the power to exercise it.

With this in mind, Palais de Justice makes me think about how buildings shape our attitudes and behaviors. How does architecture command this kind of power? Does the architecture of a courthouse differ from, for instance, that of an art museum? What might a courthouse of the future look like?

These are only a few of the questions that Young’s powerful video raises. See it yourself at the DMA, along with other new and existing works by Carey Young, in Carey Young: The New Architecture, now through April 9.

Kelly Filreis is the McDermott Graduate Intern for Contemporary Art at the DMA.

History, Pirates, and Spies, Oh My!

Published February 22, 2017 Family Fun Closed
Tags: American history, free family fun

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It’s April 1861, and Virginia has just seceded from the Union. Mary Bowser, a former slave, is recruited for a life-changing and dangerous mission—to act as a spy in the Confederate White House. Joining the staff as a maid, Mary finds herself in a position to smuggle out the secrets she finds on President Jefferson Davis’ desk. Hiding information in dress linings, passing secrets through the baker, sending coded messages using laundry hanging in the window—Mary’s life as a spy has all the elements of a suspenseful action movie!

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Join us next Tuesday, February 28, when the acclaimed acting troupe The Story Pirates present Spy on History LIVE! and bring Mary’s story to life. The Story Pirates’ shows are interactive, engaging, and sneakily educational—and this one is like enrolling in Spycraft 101. The audience will learn spy techniques during the show (similar to the ones Mary used) to crack the mystery-within-a-mystery.

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If Mary were alive today, I’d love to take her on a special tour of the Museum’s collection, showing her objects that might have a deeply personal meaning for her.

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After the show, you can pick up a copy of the new children’s book Mary Bowser and the Civil War Spy Ring to learn even more about Mary’s life and practice your new spy skills.

Reserve your FREE tickets to Spy on History LIVE! here.

Leah Hanson
Manager of Family and Early Learning Programs

Beyond “México 1900–1950”

Published February 21, 2017 Collections , Exhibitions Closed
Tags: Alfredo Ramos Martinez, and the Avant-Garde, Carlos Orozco Romero, Dallas Museum of Art, Diego Rivera, DMA, Frida Kahlo, Jesús Guerrero Galván, José Clemente Orozco, Manuel Alvarez Bravo, México 1900–1950: Diego Rivera, Octavio Medellín, Roberto (Nervo) Montenegro, Rufino Tamayo

The DMA is thrilled to host México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, opening March 12. I was fortunate to be able to view this exhibition in Paris at the Grand Palais, and was captivated by the works’ color, scale, and diversity of subject matter. This exhibition is coming to Dallas already chock-full of the heavy hitters of Mexican modernism, but the DMA is taking the opportunity to highlight and include some of our own Mexican greats. Look for the following DMA-owned works in the Dallas presentation:

Roberto (Nervo) Montenegro, “The Shell,” c. 1936, oil on composition board, Dallas Museum of Art, Dallas Art Association Purchase, 1951.84

Octavio Medellín, “The Hanged One” (“El Ahorcado”), c. 1942, black walnut, Dallas Museum of Art, Kiest Memorial Purchase Prize, Fourteenth Annual Dallas Allied Arts Exhibition, 1943.9

Manuel Alvarez Bravo, “The Cross at Chalma,” 1942, gelatin silver print, Dallas Museum of Art, gift of Paul Brauchle, 1994.232, © Estate of Manuel Alvarez Bravo / Artists Rights Society (ARS), New York / ADAGP, Paris

Manuel Alvarez Bravo, “Optical Parable,” 1931, gelatin silver print, Dallas Museum of Art, gift of DMA Friends of Photography, 1993.35, © Estate of Manuel Alvarez Bravo / Artists Rights Society (ARS), New York / ADAGP, Paris

Alfredo Ramos Martinez, “Workers,” 1944–45, tempera on newsprint, Dallas Museum of Art, gift of Mr. and Mrs. William Weber Johnson, 1991.106, © Alfredo Ramos Martinez

Diego Rivera, “Peasant Woman,” 1946, watercolor, Dallas Museum of Art, Bequest of Mr. and Mrs. Benjamin Lewis, 1985.16, © Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society, New York

Rufino Tamayo, “The Blue Chair,” 1931, oil on canvas, Dallas Museum of Art, gift of Mrs. Alex Camp, 1965.24, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Rufino Tamayo, “Young Women Jumping Rope” (“Jovencitas brincando la cuerda”), 1942–44, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Elizabeth B. Blake, 1963.89.FA, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Carlos Orozco Romero, “Head,” 1946, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.107

Rufino Tamayo, “Nude,” 1931, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.104, © Estate of the artist in support of Fundacion Olga Y Rufino Tamayo, A.C.

Jesús Guerrero Galván, “Images of Mexico” (“Imágenes de México”), 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.102

Diego Rivera, “Profile of a Woman,” c. 1930, charcoal and conte crayon on washi paper, Dallas Museum of Art, Dallas Art Association Purchase, 1951.91, © Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society, New York

Andrea Severin Goins is the Head of Interpretation at the DMA

A Deeper Look: John Thomas Biggers

Published February 17, 2017 American Art , Collections Closed
Tags: Black History Month, Dallas Museum of Art, DMA, John Biggers, McD2017, Neiman-Marcus Prize, Olive J. Theisen

As the McDermott Intern for Gallery and Community Teaching at the DMA, every Friday morning I am lucky enough to lead Go van Gogh® outreach programs in elementary school classrooms across Dallas. Each lesson is rooted in the DMA’s collection, and one of the works of art that I have grown particularly fond of teaching is a painting called Starry Crown by John Biggers.

John Thomas Biggers, Starry Crown, 1987, acrylic and mixed media on Masonite, Dallas Museum of Art, Museum League Purchase Fund, 1989.13, Art © Estate of John Biggers/Licensed by VAGA, New York, NY

The patterns of Starry Crown reflect images and symbols from African life and culture. The string held within the mouth of the three women represents the spoken word that passes tradition, knowledge, and history from one generation to another.

It is Biggers’ own history—his story—that, to me, makes this painting all the more significant.

Image via theagoraculture.com

John Biggers’ story begins in Gastonia, North Carolina, in 1924. Growing up as a black child during a racially segregated time in the southern United States deeply influenced his perspective of the world. According to Olive J. Theisen’s A Life on Paper: The Drawings and Lithographs of John Thomas Biggers (2006), individuals with darker skin tones were allowed to enter art museums only one day of the week. Although there were talented and skilled black artists at the time, recognition, and thus financial success, was often denied to artists of color.

When Biggers entered college at Hampton Institute (now Hampton University) in 1941, he registered with the intention of learning a more practical trade, like plumbing; however, Biggers’ intentions dramatically changed within his first year when an art course taught by Viktor Lowenfeld empowered him to take ownership of the culture and creativity of his own heritage through the arts.

Image via Hampton University Archives

With Lowenfeld’s encouragement, in 1946 Biggers left Hampton Institute as a dedicated artist with a clear mission: to tell the honest story of the black American through art—to make the once invisible known and respected.

Flash forward to 1952: Biggers submits one of his finest drawings, Sleeping Boy, to the fifth Southwestern Exhibition of Prints and Drawings, sponsored by the Dallas Museum of Fine Arts, the precursor to the DMA.

Biggers describes how Sleeping Boy came to be:

Sleeping Boy was drawn in the doctor’s office on a scrap of paper. I had carried my mama to the doctor’s office, was waiting there, saw a little child asleep on a chair, sketched him on a scrap of paper. When we got home, I immediately transferred the sketch to a large sheet.

(from A Life on Paper: The Drawings and Lithographs of John Thomas Biggers, by Olive Jensen Theisen)

John Thomas Biggers, Sleeping Boy, 1950, conte crayon, Dallas Museum of Art, Neiman-Marcus Company Prize for Drawing, Fifth Southwestern Exhibition of Prints and Drawings, 1952, 1952.1

Biggers did in fact win the Neiman-Marcus Prize for drawing and was invited to the Dallas Museum of Fine Arts for the awards presentation; however, as noted by former DMA staff member curator Philip Collins, once the committee discovered that Biggers was black, his prize was handed to him without ceremony at the Museum’s door. This was Biggers’ first experience with the Museum. Thirty-seven years after this incident, his painting, Starry Crown, was shown as part of the Black Art, Ancestral Legacy exhibition in 1989. During the opening, Biggers not only received red carpet treatment, but he also gave a talk—a talk that was prefaced with his very first experience at the DMA.

The knowledge of Biggers’ history with the DMA makes presenting Starry Crown to students that much more meaningful to me. By teaching this work of art with the artist’s story in mind, I encourage tolerance and acceptance for individuals of all backgrounds within the students in Dallas.

To learn more about John Biggers and his work:

A Life on Paper: The Drawings and Lithographs of John Thomas Biggers (2006) by Olive Jensen Theisen
Ananse: The Web of Life in Africa (1996) by John Thomas Biggers
Black Art in Houston: The Texas Southern University Experience (1978) by John Thomas Biggers, Carroll Simms, and John Edwards Weems
John Biggers: My America (2004) by Michael Rosenfield
Black Art-Ancestral Legacy: The African Impulse in African-American Art (1989), Editors: Robert V. Rozelle, Alvia Wardlaw, and Maureen A. McKenna
DMA mobile resources: Link

Angela Medrano is the McDermott Intern for Gallery and Community Teaching at the DMA.

Friday Photos: Words of Kindness

Published February 17, 2017 Friday Photos Closed
Tags: Center for Creative Connections, Community, visitor response

February 12-18 is Random Acts of Kindness week, when individuals are encouraged to make the world a little kinder through small acts of good will. In the spirit of giving back, we have many visitors who stop by the Center for Creative Connections each day to leave behind notes of encouragement at the writing activity. We’ve been collecting these responses over the past several months and wanted to share a selection of our favorite notes with you! Click to enlarge each image and enjoy the thoughtful words of our visitors.

Dear Reader, You are smart and you are kind. Someone is thinking of you today. Please remember to be kind to others. You are loved even in your roughest times. Whatever you are going through, remember to look towards light because you are important. You are loved. Sincerely, Raquel.

You are perfect.

Dear Human, Do good in everything you do. Be yourself and stay true to who you are…remember there’s only one of you!

Dear Reader, You are beyond incredible. You have made it this far, therefore you are strong. Wish you the best.

Hello, I hope your day is going well and that you get a chance to enjoy the DMA and all it has to offer! Love, Someone Special

I just want you to know you are beautiful. -A friend

Dear Person, You are unique and beautiful. Make the most of every second and enjoy life. Smile often and laugh at any chance you get. From a college girl.

Dear people, this is a cool Museum. I really like this art Museum. I really want to come back. This people are really nice. I love this Museum.

Live a little. Laugh a lot.

Dear Stranger, Some days are better than others, the important thing is to never give up on finding the positives, even if it seems like all is lost.

We hope you will all make a visit to the Center for Creative Connections soon and write your own encouraging notes. Even the smallest gesture can make a huge difference!

Andi Orkin
Volunteer Coordinator for Programming

Artist Interview: Janeil Engelstad

Published February 15, 2017 Center for Creative Connections Closed
Tags: C3 visiting artist, Center for Creative Connections, Dallas Museum of Art, DMA, Geoff Winningham, Janeil Engelstad, Make Art with Purpose (MAP)

Last month, Janeil Engelstad, our first C3 Visiting Artist of 2017, embarked on a journey of exploring the collection and creating an in-gallery experience for our visitors. Meet Janeil and learn about her project, which will debut in March 2017.

Tell us about yourself.
The ocean and trees ground my Spirit. New York, Chicago, LA, San Francisco, Seattle, Sun Valley, and Bratislava—I carry the experiences of the places I have lived within and they continue to feed my work. My foundation is Gratitude. My practice is Kindness.

What motivated you to apply to the C3 Visiting Artist Project?
Much of my professional practice is devoted to producing projects in collaboration through my organization Make Art with Purpose (MAP), teaching, writing or curating other people’s work into exhibitions. Currently, one of the projects that I’m working on is directing the website for the documentary film Angel Wagenstein: Art Is a Weapon, which premiered at the New York Film Festival at Lincoln Center. While all of this work is rewarding and expands my creativity, every once in a while I want to dip into a project or create a body of work that is completely my own. This residency is, for me, going back into “the studio.”

Geoff Winningham, publisher: The Cronin Gallery, Sunday, February 26, Birdhouse Vendor, Interstate 45, negative 1973, print 1976, gelatin silver print, Dallas Museum of Art, gift of Prestonwood National Bank, 1981.36.8

Tell us about the project you’re working on.
Inspired by Geoff Winningham’s photographs currently on view in the Center for Creative Connections (C3), I am developing a project that investigates and positions narratives that the viewer might not think of when looking at a work of art. For example, there is a photograph of birdhouses on a car. What can this tell us about housing or migration? How can either one of these topics then inform an investigation of another work of art in the DMA’s collection? And how can questions that I pose through a tour, or a set of postcards developed in response to these investigations, inspire the viewer to think more broadly about the world?

What did you enjoy most about this experience?
The process is enjoyable—moving from one idea to another, thinking about the material aspects of the project. Also, I literally looked at every work of art in the permanent collection that is currently on view. My knowledge expanded and my curiosity led me to research many different things. One time I was in the Museum’s library for an entire afternoon. That was a wonderful luxury, as I haven’t made time to be in a library for so many hours in several years. Growing up, I spent a lot of time in my school libraries and in our neighborhood library in Seattle. In college and in graduate school, I spent many hours in the various libraries on each campus. I love the quiet, vibrant energy of a library—all the wisdom and knowledge contained on those shelves. When I can, I will take that over researching on-line any day.

Learn about the upcoming programs that Janeil will be hosting in February and March:
Late Night Tour: More Than a Photograph, Friday, February 17, 6:30 p.m.
C3 Visiting Artist Workshop: Mapping Your Environment, Friday, February 17, 8:00–10:00 p.m.
Teen Workshop: Telling Stories Through Art, Saturday, February 25, 1:00–3:00 p.m.
First Tuesday: Storytime, Tuesday, March 7, 11:30 a.m.

Jessica Fuentes is the Manager of Gallery Interpretation and the Center for Creative Connections at the DMA.

A Night of No-Phone Fun

Published February 14, 2017 Art & Teaching 2 Comments
Tags: Teen Advisory Council, teen programs, teenagers

A few of our dedicated Teen Advisory Council Members showing off their moves at Late Night Creations!

The DMA’s Teen Advisory Council has been hard at work brainstorming new ways to connect our visitors with our collection and exhibits. You may have already experienced their handiwork for yourself: from Late Nights to alternative bite-sized tours, members of the Council never cease to amaze with how creatively they interpret works of art at the Museum.

This year, the Council is taking a deeper, experimental approach to making the DMA a comfortable place for visitors–especially teens–to be themselves. In an initial brainstorming meeting, the Council reflected on the stereotype that millennials are connected 24/7 to technology: that they can’t put their phones down and prefer texting over face to face conversation.

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However, teenagers know that always being connected has consequences. While their friends are always a text away, they’re also connected to people and things they wish they could get away from. Leaving school for the day will not keep a teenager safe from bullies anymore. Apps allow teachers to text students after hours and on weekends. Young people are bombarded constantly by international tragedy and injustice on their social media feeds. Constant access to technology leaves teenagers without a safe space, so the Teen Advisory Council decided to create one.

On January 5^th, they hosted Disconnect to Reconnect, an event that encouraged visitors to put away their cell phones and engage with the art and each other. Council members designed activities to encourage conversation and reflection. Visitors started dialogues on our atrium tables, and contributed to a zine that reflects their personal aesthetic.

The Teen Council also led their own tours, scavenger hunts, and workshops. True Colors tours took visitors on a journey of self-discovery with artwork that shared their personality, while Kendra Greene’s Spoken Word workshop used art as a catalyst for poets to say something about themselves.

Watching the Teen Council plan Disconnect to Reconnect has been an amazing experience. The programs presented at the event were written entirely by Council members and required minimal staff feedback or oversight. During the planning process and the night of, they had to make decisions about content and logistics that would be difficult even for adult educators – and handled it all with their typical optimism and cool. We’re very proud of them, and can’t wait to see what they do next!

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If you or a teenager you know is interested in volunteering at the DMA, more information is available on our website. And don’t miss the Teen Advisory Council at Late Night Creations this Friday, February 17!

Jessica Thompson
Manager of Teen Programs

LOVEY-DOVEY

Published February 13, 2017 Dallas , Exhibitions 1 Comment
Tags: Dallas Museum of Art, DMA. Valentine's Day, Love, medieval art, middle ages

”For this was sent on Seynt Valentyne’s day’
Whan every foul cometh ther to choose his mate” – Geoffrey Chaucer

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In France and England during the Middle Ages, it was commonly believed that birds’ mating season began on February 14. This notion led to Valentine’s Day being celebrated as a day of love and romance. It is even widely believed that the first Valentine’s card was sent during medieval times! Fourteenth- and 15th-century poets linked Valentine’s Day with amorous love through passionate verses, so sweethearts began exchanging sweet notes and flowers on this now well known day. Puts a whole new spin on the saying LOVEY-DOVEY, doesn’t it?

We suggest that this year you and your beloved travel to a time where chivalry knew no bounds and romance ran rampant with a visit to Art and Nature in the Middle Ages. How idyllic, am I right? Nothing sets the mood better for a lovely evening than dim lighting, illuminated manuscripts, and scenes of TWUE WUV—you know, back before dating apps, social media stalking, and texting entered the picture. Y’all, these couples actually had to talk face to face—crazy I know.

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So tomorrow, restore your hope in romance by visiting Art and Nature in the Middle Ages and maybe you’ll make an acquaintance worth courting—or at the least you’ll see something magical!

P.S. Unicorns, dancing pigs, really cool stained glass, and awesome metalwork are also included in this exhibition if you hate all things mushy gushy—did I say unicorns?

P.P.S. There’s only one more month to love this exhibition, so don’t wait!

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

Listen Hear

Published February 8, 2017 Behind-the-Scenes , Center for Creative Connections , Collections , European Art 2 Comments
Tags: Claire Hecko, Claude-Joseph Vernet, Clint Niosi, Dallas Museum of Art, DMA, Jean Antoine Theodore Giroust, Pop-Up Art Spot

The Center for Creative Connections (C3) has been working closely with our Manager of Access Programs, Emily Wiskera, to create new sensory activities at each of the Pop-Up Art Spots. This month we have added a new activity to our Pop-Up Art Spot in the 18th-Century European Gallery. The works of art on view in this gallery are so epic they feel like they are straight out of a movie. So, we invited local musicians Clint Niosi and Claire Hecko to compose one-minute “film scores” for four of the works of art on view. Here’s a sneak peek of two of them:

Claude-Joseph Vernet, A Mountain Landscape with an Approaching Storm, 1775, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 1983.41.FA

Jean Antoine Theodore Giroust, The Harp Lesson, 1791, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2015.10.FA

Stop by the Pop-Up Art Spot on Saturdays between 1:00 and 4:00 p.m. or on Late Night between 8:00 and 11:00 p.m., check out an iPod, and listen to these mesmerizing sounds as you look closely at these works of art.

Jessica Fuentes is the Manager of Gallery Interpretation and the Center for Creative Connections at the DMA.

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