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Archive Page 45

Penn v. Zoolander: It’s a Walk-Off!

Published June 20, 2016 Exhibitions Closed
Tags: Dallas Museum of Art, DMA, Irving Penn, Irving Penn: Beyond Beauty, Studio Movie Grill, Zoolander

Sometimes you need a little laughter and a trenta orange mocha Frappuccino to get you through the day. While the second is too difficult to deliver via screen, we are here to help with the first!

Fifteen years ago, Zoolander took pop culture by storm and instantly became a cult classic. And almost a century ago, one of the greatest American photographers renowned for fashion images was born. But what does a fictional model have in common with a distinguished shutterbug? A lot more than you might think!

Fashion aside, Irving Penn and Derek Zoolander were able to take something simple and make it a masterpiece. Be it a simple backdrop or a single pose, they created a phenomenon and neither one let societal norms dictate their art. It took time for their genius to be recognized, but in time all realized the beauty in their unique vision.

Okay, so their similarities may stop there, and we might have been reaching in the first place, but in the wise words of Hansel, “Don’t ask questions. Just give in to the power of the tea.” So if you like fashion and raucous amounts of fun, join us Wednesday night at Studio Movie Grill Spring Valley for a special screening of Zoolander in celebration of Irving Penn: Beyond Beauty and get 10% off exhibition tickets using the code STUDIOMOVIEGRILL.

Cool Story.

Bernd Becher and Hilla Becher, Coal bunkers, 1978, gelatin silver print, Dallas Museum of Art, gift of Carl, Elizabeth, Stahl, and Laura Urban, courtesy Sonnabend Gallery, New York, 1981.191.9, © 2016 Hilla Becher

Mario Pascual, Untitled, 2009, digital c-print, Dallas Museum of Art, Lay Family Acquisition Fund, 2010.11.1, © Marlo Pascual

Jerry Bywaters, Self-Portrait, 1920, oil on canvas, Dallas Museum of Art, gift of the Estate of Jerry Bywaters, 1989.172

Petra Zimmermann, Woman with dog brooch, 2000, silver, plastic, gold leaf, and antique glass stones, Dallas Museum of Art, gift of Edward W. and Deedie Potter Rose, formerly Inge Asenbaum collection, gallery Am Graben in Vienna, 2014.33.348, © Petra Zimmermann

Koloman Moser, Self-Portrait, 1902, black chalk and pencil on paper, Dallas Museum of Art, gift of Alessandra Comini in honor of Adriana Comini, 2014.29

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

Friday Photos: DOGgone Good Times

Published June 17, 2016 Friday Photos 4 Comments
Tags: Dallas dogs, DMA dogs, dogs, dogs of instagram, Late Night, westie

Today’s post is from George Costanza Blake, a spunky Westie who belongs to DMA staffer, Amanda.

Howdy, y’all! I’m so excited to write my second blog post for this fantastic blog. Even though I still haven’t been invited to go inside the DMA to see where my human spends her days away from me, it’s still such a doggone fun place to visit and tromp around outside.

Especially now, since they have a fancy, new outdoor patio cafe that is…dog-friendly! I love going with my family to eat at dog-friendly spots. The outdoor cafe is called Socca and is named after the type of grub it serves – which is a chickpea crepe made PAWpular in southern France, where it is a specialty. Tres chic! The PAWsome thing about Socca, is that it is healthy; humans can add tuna, chicken, lettuce, and my ultimate fave – cheese. Great news for us mutts as we patiently await food dropping from tables. Well behaved dogs on leashes are welcome on the Socca patio – woohoo!

Ready to eat!

I love this place!

Socca-ing up some rays.

Can you find me?

Encompassing Socca is the brand new Eagle Family Plaza, which is a relaxing spot full of lush grass on which to lounge and a fantastic commissioned sculpture called Pas de Deux (Plaza Monument) by British artist Rebecca Warren, which I thoroughly enjoyed gazing up at to admire.

If the new cafe isn’t exciting enough, guess what the Late Night theme is tonight? It’s all about us: four-legged furry family members! If you’ve been working like a dog all week, bring your muttly crew for a evening of fun. Although canine companions aren’t allowed inside the DMA, humans can celebrate the PAWsomeness with pup-focused films (one of my faves, Best in Show – you can’t beat the Terrier Song), to animal-themed tours, live music, and scavenger hunts, it’ll be a PAWsitively rip-roarin’ good time.

I hope to see you rompin’ around the grass-filled surroundings of the DMA soon!

Until next time,

George Costanza Blake
Canine Museum Consultant

Fashion in Vogue

Published June 15, 2016 Behind-the-Scenes , Exhibitions Closed
Tags: Balenciaga, Dallas Museum of Art, Dior, DMA, Irving Penn, Irving Penn: Beyond Beauty, Molyneux, Rochas

Even though Irving Penn’s work in the exhibition at the DMA encompasses several subject areas (e.g., still life, portraiture, travel, and commercial photography), he is most widely known for his work in the fashion industry. His fame in this arena is well deserved, both for how he revolutionized the practice of the fashion shoot itself and for the simplified, bold, and elegant sophistication of the images he captured.

Prior to Penn’s arrival at Vogue magazine in the 1940s, fashion shoots were organized around a contextual approach—meaning he had to design a “set” that provided a context or narrative for the clothes the model would be wearing. It was theatrical as well as being a lot of work. It didn’t take long before Penn abandoned that practice and adopted instead a stripped-down approach that peeled away all extraneous and distracting details. By using plain backgrounds, all the emphasis shifted to the models and the haute couture designs they wore. The designers loved it!

When you look at Penn’s fashion photography, two strong characteristics dominate: an emphasis on form, or the silhouette, that is quite sculptural in its effect; and, the powerful sense of feminine independence of the modern woman. The latter was no accident. In Penn’s eyes, models weren’t just clothes hangers but rather intelligent and perceptive individuals for whom he had a great deal of respect. Consequently, these images come off as portraits, which is what Penn considered them to be, thus explaining why he always included their names in the titles.
The model for whom he likely had the greatest respect was the Swedish-born Lisa Fonssagrives, who is today considered to be the world’s first supermodel. The rapport and connection between them is palpable whenever she is looking into the lens of the camera. She was not just his muse; she also became his wife in 1950, just before they left New York to shoot the Paris collections.

When Penn arrived in Paris in 1950, he set up on the top floor of a photography school. It was a daylight studio—meaning he used only the natural light that poured through the bank of north-facing windows. An abandoned theater curtain provided the softly mottled background for the shots. The studio and the stairwell up to it became a buzzing hive of activity as couriers arrived and departed. By bicycle, they ferried elaborate ensembles from the fashion houses of Dior, Balenciaga, Rochas, and Molyneux. Once the shoot was complete, they furiously pedaled their way back across town with their precious cargo.

The photographs from that iconic Paris shoot are stunning for their simplicity and originality. Rochas’ curve-hugging mermaid dress and Dior’s wonderful nipped-waist black suit were all about the silhouette. Penn’s idea to concentrate on details of other designs was equally brilliant. His close-up shots of the gorgeous gathered sleeve of Balenciaga’s coat, or the distinctive pocket on a coat by Molyneux, drew attention to the superior design as well as the craftsmanship of the individuals who made them.

Penn’s contribution to fashion photography set a standard that shaped not only the practice but also the industry itself. Many would adopt a simplified approach to the fashion shoot. Even today, other photographers, aspiring or established, stand in the long shadow of Penn’s legacy, borrowing his ideas or even re-creating some of his most innovative shots, like a nod of admiration to the creative genius of one of the 20th century’s greatest masters.

Celebrate Penn’s birthday tomorrow evening with the launch of our summer Thursdays and enjoy buy-one-get-one-free tickets to Irving Penn: Beyond Beauty. Strike a pose from 6:00 to 9:00 p.m. and take home your favorite Penn-inspired memories with free prints made onsite from your Instagram account.

Sue Canterbury is The Pauline Gill Sullivan Associate Curator of American Art at the DMA.

Teen Ambassadors: Coolest Kids in Town

Published June 14, 2016 Art & Teaching , Family Fun 3 Comments
Tags: Dallas Museum of Art, family fun, Story Time, Teen Ambassadors, Teen Docents, teenagers, tours, Volunteer

We know all too well that this summer’s going to be a scorcher, so the Museum is bringing back our free Summer Family Fun programs to offer families some seriously cool activities. Each day this summer will feature different experiences for families and visitors of all ages, from Story Times to Art-to-Go Family Tote Bags. We’re not alone in our efforts, though – we have a secret weapon to help families beat the heat. Introducing the next generation of museum educators…the DMA Teen Ambassadors!

Formerly the Teen Docent Program, Teen Ambassadors will lead Community Tours, Family Story Times, and visitor experiences at the Pop-up Art Spot and C3 Gallery this summer. These enthusiastic, art-loving teens attended a two day orientation where they learned how to engage with visitors (especially young ones!) to prepare for their volunteer shifts.

Teen Ambassadors perfecting their tour skills

All smiles here!

Fearless leader, Manager of Teen and Gallery Programs Jessica Thompson

The 2016 Class of Teen Ambassadors

This year’s class of Ambassadors is pretty impressive, so make sure to catch them in action!

Jennifer Sheppard
Teaching Specialist

Frida in Fresco

Published June 13, 2016 Behind-the-Scenes 1 Comment
Tags: Dallas Museum of Art, DMA, Frida Kahlo

In March the Level 4 galleries overlooking the Atrium warmly welcomed a familiar face: Frida Kahlo. The DMA is lucky to have on loan two self-portraits of the famed Mexican artist, but there is something that makes one of these portraits unique in the artist’s oeuvre and a rare treasure on view at the Museum. Self-Portrait Very Ugly, as Kahlo lovingly titled her work, is a fresco—one of just two prepared by the artist during her career, and the only fresco on view at the DMA.

Traditionally, fresco painting is done on wall surfaces; however, the 20th-century movement of Mexican muralism revolutionized the medium to allow for smaller, portable murals made up of plaster panels just like Kahlo’s. The fresco painter uses water-based pigments on a freshly plastered wall, painting only what can be completed in a work day, or giornata. The binding of the pigment with the surface of the wall results in a monumental, durable image. While Kahlo’s husband, Diego Rivera, used the fresco technique in his practice as a muralist, Kahlo was unaccustomed to the speed and spontaneity required to complete a fresco. A slow, meditative process in oil painting better suited the artist, whose work is deeply introspective. The multilingual insults surrounding her face give us a hint of her displeasure with both her image and the technique, which she abandoned immediately.

The damaged fresco panel from 1933 presents a rare opportunity for visitors to see an underrepresented medium at the DMA, and an incredibly rare work by the well-known Mexican artist. See the loaned fresco work, and an accompanying Kahlo self-portrait, Itzicuintli Dog with Me, 1938, at the DMA for a limited time.

Frida Kahlo, Self-Portrait Very Ugly, 1933, fresco on plasterboard, private collection

Photograph of the fresco taken shortly after its completion in 1933 and before its damage.

Color copy of the fresco painted by a friend of Kahlo and assistant to Diego Rivera, Lucienne Bloch. Notice her initials “LB” in the lower left-hand corner, above Kahlo’s shoulder. This color copy and the black-and-white photograph give us an idea of what the completed fresco looked like.

Erin Piñon is the Early Texas Art Research Associate for the DMA

DMA BFFs

Published June 8, 2016 Collections Closed
Tags: Best Friends Day, Dallas Museum of Art, David Smith, DMA, Emile Bernard, Helen Frankenthaler, Jacob Lawrence, Romare Bearden, Vincent van Gogh

What makes a best friend? There are some common traits associated with a BFF: someone who knows you better than anyone else, someone who accepts you, someone who is honest and forgiving, someone who listens and offers advice, and someone who is trustworthy. We all have best friends, so it isn’t surprising that artists do too. But it is special when two artists share that closeness because their friendship influences each other’s work. In honor of National Best Friends Day, we are highlighting some of the artistic friendships represented in the DMA’s collection.

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection 1985.R.80

Emile Bernard, Breton Women Attending a Pardon, 1892, oil on cardboard, Dallas Museum of Art, The Art Museum League Fund 1963.34

Vincent van Gogh and Emile Bernard met in the mid-1880s, when Bernard was 18 years old and van Gogh 15 years his senior. Both artists were greatly influenced by Japanese art—Bernard by the simplicity and flat forms and van Gogh by the spatial effects, strong color, everyday objects, and detailed depictions of nature. The friends corresponded through mail, often sending each other drawings and discussing their artistic ideas. In 1889, following van Gogh’s highly critical response to Bernard’s Christ in the garden of olives, their correspondence ceased; however, after van Gogh’s death Bernard wrote the first published biography on Vincent van Gogh.

Octavio Medellín, Smoky Celadon, n.d., glazed stoneware, Dallas Museum of Art, Dallas Art Association Purchase, 1949.36

Carlos Mérida, Dancers of Tlaxcala, 1951, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.108

Octavio Medellín met Guatemalan painter Carlos Mérida in Mexico in the late 1920s. The friends traveled together and taught at North Texas State (now University of North Texas) from 1941 to 1942. Though Mérida eventually returned to Mexico, the two remained close friends and influenced each other’s work until Mérida died in 1985.

Jacob Lawrence, The Visitors, 1959, tempera on gessoed panel, Dallas Museum of Art, General Acquisitions Fund, 1984.174

Romare Bearden, Soul Three, 1968, paper and fabric collage on board, Dallas Museum of Art, General Acquisitions Fund and Roberta Coke Camp Fund, 2004.11

Romare Bearden and Jacob Lawrence grew up in Harlem following the Harlem Renaissance and were profoundly influenced by the music, literature, and culture of their neighborhood. As young men, both participated in various community-based art classes and workshops in the area and were inspired by writer and philosopher Alain Locke. The two corresponded throughout the years, and some of their letters are available through the Archives of American Art.

Otis Dozier, “Mexican Landscape (adobe),” 1963, oil on Masonite, Dallas Museum of Art, gift of The Dozier Foundation, 1990.46

Velma Davis Dozier, “Terlingua,” n.d., pastel on sandpaper, Dallas Museum of Art, gift of Denni Davis Washburn and Marie Scott Miegel, 1990.21

Barney Delabano, “Shadowed Light,” 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1950.52

Barney Delabano studied under Otis Dozier when he attended Southern Methodist University and then the Dallas Museum of Fine Arts School in the late 1940s. Over time, Dozier and his wife, Velma, came to be Delabano’s close friends. The Doziers would even come to be mentors for Barney Delabano’s son, artist Martin Delabano.

Helen Frankenthaler, “Possibilities,” 1966, acrylic on paper, Dallas Museum of Art, gift of Tucker Willis, 1998.105

David Smith, “Untitled,” 1962, spray paint on paper, Dallas Museum of Art, Contemporary Art Fund, General Acquisitions,1986.58

Helen Frankenthaler and David Smith were first introduced by art critic Clement Greenberg in 1950. Throughout their 15-year friendship, they not only visited each other’s studios and corresponded through mail but even vacationed together with their families. They remained close friends until Smith’s death in 1965.

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

Cross-Cultural Connections

Published June 7, 2016 Art & Teaching 1 Comment
Tags: Islam, Islamic Art, resources, Teen Advisory Council, teens

Hi, I’m Taylor Strander, a senior from McKinney Boyd High School and a DMA Teen Advisory Council member. As the school year draws to a close and graduation looms near, I thought it was a perfect time to reflect on my busy year at the DMA! I have spent a great part of my school year exploring the DMA collection and collaborating with staff on a project for my ISM class.

What is ISM? ISM stands for Interdisciplinary Study and Mentorship – a program specifically designed for high school students who have an idea of the career they want to explore beyond high school. The goal of the class is to develop interpersonal and networking skills in the hopes of obtaining a mentor that can offer their expertise in the creation of a final product. As someone interested in studying art history in college, I immediately sought to find a mentor who worked in a museum and was immersed in art every day. I distinctly remember growing quite fond of the DMA after my first visit with my elementary school class, and since then I have seized every opportunity to learn more about the Museum by participating in the Teen Docent Program and serving as a Community Engagement Volunteer.

Due to my prior experience, I thought it would be most fitting to select a mentor from the place that catalyzed my passion for art. So I began my weekly commute to the DMA to meet and brainstorm with my mentors, Jessica Thompson and Whitney Sirois, on my final project for the class. Working with them has offered me a deeper understanding of the field of museum education and has strengthened my desire to pursue a career in a museum one day. My final project turned out to be something greater than I ever could have imagined and best of all, it is something that can be implemented in the Museum today.

So, what did I create? In order to gain a better grasp on the role of a museum educator, I designed my very own Bite-Sized Tour and Art-to-Go Family Tote Bag complete with four different activities.

During my first meeting with Jessica and Whitney, I was inspired by the DMA’s exhibition Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art, which features a variety of Islamic works from the internationally renowned Keir Collection. It was important to me to reference this collection for my project because Islamic art seems to be misunderstood and its influence on global cultures is often forgotten. After some heavy research, I used my newfound knowledge of Islamic art to create a Bite-Sized Tour entitled “Cross-Cultural Connections.” This guide highlights Islamic works and directly compares them to other objects in the DMA’s permanent collection in an effort to encourage visitors to notice similar qualities or influences across cultures.

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The second component of my final project is an Art-to-Go Family Tote Bag, which is meant to reinforce visitors’ understanding of Islamic art through different activities that highlight specific artistic elements. Family Tote Bags are great because they offer fun, on-the-go activities for a variety of different age groups and learning styles. For the tote bag, I came up with four separate activities – write, make, draw, and talk.

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The writing activity asks visitors to reference Islamic calligraphy to create their own epic poem. The make activity allows visitors to make their own astrolabe, a navigational tool that revolutionized Islamic culture. The drawing activity invites people to design their own geometric patterns inspired by Islamic textiles and ceramics. Finally, the talk activity encourages visitors to discuss Islamic art influences within the Museum’s permanent collection. Islam’s holy month of Ramadan has just begun, so take a moment to explore the many connections you can make to this world religion and its artistic traditions on your next visit to the Museum.

A special thank you to my mentors, Jessica and Whitney, for giving a young person like me an invaluable experience that I will carry with me for the rest of my life. Your words of wisdom and constant support will not be soon forgotten. And finally, thank you to the DMA for transforming before my eyes into a place that I know all too well, a place that feels like home.

Taylor Strander
Teen Advisory Council Member

Making Space

Published June 6, 2016 Uncategorized Closed

Today the DMA’s Digitization Team is working in the Museum’s Atrium. As the project has progressed over the past two years, the team has worked in various galleries and spaces, both in front and behind the scenes. Today’s objects to be photographed are all too large to be accommodated in the Museum’s traditional photo studio, and include the longest work on paper the DMA owns—A Gathering of Penniemama Sky Forces out in the Suburbs by Jim Roche, which is 462 inches long! In order to capture a work of this size, the Museum photographer, Chad Redmon, will be climbing into a boom lift and photographing the piece from an aerial point of view.

Katie Cooper is the Assistant Registrar for the Digitization of the Collection at the DMA.

Friday Photos: 2015-2016 School Tours

Published June 3, 2016 Art & Teaching , Friday Photos Closed
Tags: docents, school tours, School year, students, tours

It’s hard to believe K-12 visits for 2015-2016 school year wrapped up last Friday! We’ve had a busy year here at the DMA welcoming visitors of all ages, leading tours, and helping them make meaningful connections with works of art. Now it’s time to take a look back on all we’ve accomplished!

How many groups visited the Museum?

1,227 Visits Scheduled
711 Schools or Community Groups
96 Independent School Districts from Texas, Oklahoma, Louisiana, and New Mexico

How many students received docent-guided tours?

37,374 K-12 students
Approximately 2,698 hours discussing works of art with students!

How many students completed self-guided visits?

12,275 K-12 students

What were the most popular tours?

A Looking Journey: 17,357 4th graders; 1,158 hours in the gallery
Arts of the Americas: 5,172 5th graders; 345 hours
Collection Highlights: 2,386 students; 160 hours
Recipes for Art: 545 K & 1st graders; 37 hours

How many visitors toured special exhibitions?

Inca: Conquests of the Andes: 888 students; 60 hours
International Pop: 1,312 students; 88 hours
Jackson Pollock: Blind Spots: 1,694 students; 113 hours
Irving Penn: Beyond Beauty: 370 students; 25 hours

What do our visitors say about their experience at the DMA?

“The students had a wonderful time, and they are already asking when we can visit again!” – Skyline High School, Dec. 6

“The docents were very knowledgeable (as has always been the case in the past three years that our school has been visiting). We thoroughly enjoyed it! Thank you again for providing this artistic experience in our Dallas community.”– Urban Park Elementary, Feb. 17

“Thank you so much for having such amazing people working with our kiddos! We LOVED the DMA! So grateful!”– Nathan Adams Elementary, March 10

“Our docent was so knowledgeable, enthusiastic, and great with my seniors. I love that I get to bring my kids to the DMA every year, and this year’s trip was made even better because of our docent. See you next year!”– John Horn High School, May 6

Thank you to all our volunteers, staff, and visitors for an amazing school year!

Lindsay O’Connor
Manager of Docent and Teacher Programs

Madeleine Fitzgerald
Audience Relations Coordinator

Interpreting Batiks

Published June 1, 2016 Behind-the-Scenes , Collections Closed
Tags: batik, Dallas Museum of Art, DMA, Java, textiles, University of North Texas

We are looking forward to Waxed: Batiks from Java, which will highlight the DMA’s fabulous collection of Javanese batik textiles later this fall. These works will continue the thread (pun absolutely intended!) of displaying textiles on Level 3; previously, Add to, Take Away: Artistry and Innovation in African Textiles explored textiles across Africa.

Batik is a technique of textile decoration that involves applying wax to a fabric by hand with a canting (wax pen) or a stamp. The fabric is then dyed, but the wax resists dying and creates pattern and decoration in the negative. Although the earliest and most simple batiks involved applying only dots of wax, the process has evolved to yield incredibly detailed and complex designs.

Batik tools, like these wax pens, will also be on display in Waxed.

Making a batik requires serious creativity, skill, and time. It took several months to complete a design like this cloud motif. If you look closely, you will notice that each cloud form includes six concentric outlines that shift in tone from a deep blue (the innermost line) to white (the outermost line). In order to achieve the variations in color, the cloth had to be dyed and waxed six separate times.

Wraparound skirt, (kain panjang) [pointed-ends cloud motif (megamenlang), Indonesia: Java, c. 1910, Cotton, commercial dye (?), Textile Purchase Fund, 1991.58

Wraparound skirt (kain panjang) [pointed-ends cloud motif (megamenlang)], Indonesia, Java, c. 1910, cotton and commercial dye (?), Dallas Museum of Art, Textile Purchase Fund, 1991.58

The job of “interpreting” textiles—or presenting them to the public in a way that facilitates understanding, piques interest, invokes appreciation, or inspires curiosity (among other things)—is a unique one. Because textiles are everywhere in our day-to-day lives, from mattresses, to clothes, to carpet and upholstery, it becomes necessary to very clearly convey what makes certain textiles so special. For our Inca exhibition last year, we collaborated with University of North Texas professor Lesli Robertson and the students in her class “Topics in Fiber: Community, Culture, and Art.” They created samples of textiles that reflected the very specific weaving techniques of textiles in the exhibition. We discussed the project in this blog post. These samples were such a success in the exhibition that we wanted to collaborate with our UNT colleagues once again for Waxed.

This time, we will work not only with Lesli and two of her recently graduated students but also with Amie Adelman, UNT professor of fibers, and one of her fall classes. The students will collaborate with DMA staff to design and develop an educational display that presents the steps required to produce complex batik designs. Together, we will further explore batik production in 19th- and 20th-century Java, including specific techniques, tools, colorants, and even wax “recipes.” The students will also have opportunities to visit the Museum’s textile storage and view some of the batiks up close, before they are installed in the galleries. By the fall, the students will produce eight to ten batik samples, each illustrating a different step in the process. By breaking down each individual step, our goal is for visitors to gain a deeper understanding of the extensive time, creativity, and planning involved in producing batik. Visitors will be able to learn from looking at these samples, and also from feeling them and touching the wax applied to the fabric.

Sketch of preliminary ideas for educational display

We look forward to working with our friends and colleagues at UNT this summer, and we cannot wait to see what they come up with! Stay tuned for more behind-the-scenes pics of this exciting collaboration!

Andrea Severin Goins is the Head of Interpretation at the DMA.

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