Posts Tagged 'connections'



Reading the Cards: Part 3

This post is the third in a larger series finding connections between the ever-mystical tarot cards and the extraordinary collection of the Dallas Museum of Art. Head over to the first and second posts for an introduction and earlier connections.

The Hierophant is the fifth trump card and is occasionally referred to as the Pope.  The term hierophant literally means one who teaches holy things.  With two fingers pointing skyward and two downward, the Hierophant’s hand raised in benediction forms a bridge between heaven and earth.  This card represents seeking guidance from positive role models as the Hierophant is seen as a pillar of the community.

Standing power figure (nkisi nkondi),Yombe peoples, late 19th to early 20th century, Dallas Museum of Art, Foundation for the Arts Collection, gift of the McDermott Foundation

Minkisi (the plural term for nkisi) are containers for magical substances or medicines that empower them to protect the community against negative forces.  This standing power figure belongs to a class of minkisi called nkondi.  The term translated is “hunter” of wrongdoers in matters of civil law.  Truly a pillar of the community, the hunter is simultaneously chief, doctor, priest and judge.

The High Priestess is the second major arcana card in a tarot deck.  She is represented in plain robes wearing a horned diadem on her head and a large cross on her chest.  The High Priestess is always shown between two pillars- one white and one black.  Labeled “B” and “J,” the columns represent Boaz and Jachin of the mystic Temple of Solomon.  This card is associated with knowledge, love, and common sense.

Matthew Barney, CREMASTER 3: Hiram Abiff, 2002, Dallas Museum of Art, Contemporary Art Fund: Gif of Arlene and john Dayton, Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Margurerite and Robert K. Hoffman, Cindy and Howerd Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and three anonymous donors; DMA/amfAR Benefit Auction Fund; and Roberta Coke Camp Fund

Cast by Matthew Barney in the film CREMASTER 3, American sculptor Richard Serra portrays the master architect of the Chrysler building.  In this freeze frame, Serra stands in front of two industrial columns, a reference to two pillars designed by Hiram Abiff, the mythic architect of Solomon’s Temple, who possessed knowledge of the mysteries of the universe.

Judgement is the twentieth trump card in the tarot deck.  Modeled after the Christian resurrection prior to the final judgmenet day, the scene depicts an angel, likely Gabriel, descending to earth sounding a trumpet.  Below, grayish men, women, and children celebrate the angel’s arrival with open arms as they emerge from crypts and graves.  When used for divination purposes the card signals an impending judgement or the resurrection of past errors.

Emma-O, late 16th-early 17th century, Dallas Museum of Art, Wendover Fund in memory of Alfred and Juanita Bromberg an dthe Cecil and Ida Green Acquisition Fund

The title Emma-O is the Japanese translation of Yama, the Hindu god of death.  Based in Buddhism, the idea of Emma-O as the King of Hells originated in China before spreading to Japan.  Wearing the costume of a Chinese judge, Emma-O was thought to determine how your spirit would be reincarnated in your next life.  He was seen as a beneficient power despite his snarling face, which was thought to avert evil.

Justice is numbered either eight or eleven depending on the deck .  Shown seated and holding the scales of justice and the equalizing sword aloft, Justice meditates on various claims of right, morality, and duty.  When Justice appears in a spread, the card signals an injustice that requires righting.

Helmet mask (gye), Guro peoples, mid-20th century, Dallas Museum of Art, The otis and Velma Davis Dozier Fund

The most powerful of masks, gye represent the highest judicial authority.  A person wearing such a mask can judge disputes, negotiate peace treties, and make momentous decisions on behalf of the community.  Worn while dancing atop burning coals, this mask depicts the trustworthy and loyal African buffalo.

The Lovers is the sixth trump card in a tarot deck.  Still nude, Adam and Eve flank the cherub that is presumably ordering them from the Garden of Eden.  Representing the impulse that drove Adam and Eve from the Garden, the Lovers exemplify the transition from innocence to experience.  This transition could manifest due to curiosity, desire, or duty.

Henry Koerner, June Night, 1948-1949, Dallas Museum of Art, Foundation for the Arts Collection, gift of Joshua L. Logan

An example of magic realism, Henry Koerner’s June Night is a glance at life after leaving the garden.  Contrasting blissful wedding connotations with the harsh qualities of a brick apartment building, this painting comments on the realities of married life, post-honeymoon phase.  The crying child painted on the lower wall brings to mind late night feedings and diaper changes.

Stay tuned for my next post featuring the Magician, the Moon, the Star, Strength, and the Sun.

Pilar Wong
McDermott Intern for Community Teaching

Friday Photos: Here Comes Election Day

Donald Freeman, Election, c. 1933-1934, Dallas Museum of Art, gift of the Public Works of Art Project

With the election fast approaching, I wanted to share some presidential and election-related works from the collection in the hopes of inspiring you to exercise your civil right to vote.

Rembrandt Peale, George Washington, c. 1850, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation

Rembrandt Peale painted this portrait when he was just seventeen years old, stating that the anticipation of the appointment with George Washington made him so nervous that he “could scarcely mix [his] colors.” The composition seen today is actually a revision of the original painting done nearly thirty years later.

Theodore R. Davis (designer), Oyster plate, designed 1879, Dallas Museum of Art, the Charles R. Masling and John E. Furen Collection, gift of Mr. and Mrs. William Rubin, the Arthur A. Everts Co., and Arthur and Marie Berger by exchange

During his term from 1877 to 1881, Rutherford B. Hayes was served oysters on this Thomas R. Davis design. To see what is in the White House currently, check out Google Art’s 360-view here.

Crawford Riddell, Bed, c. 1844, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisition Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

This Gothic revival style bed was commissioned as part of a suite of bedroom furniture for presidential candidate Henry Clay in anticipation of his term in the White House. Eventually losing to Andrew Jackson, Clay was forced to sell the piece to someone who had a room large enough to house this thirteen foot tall bed.

Fanny B. Shaw, “Prosperity is Just Around the Corner,” 1930-1932, Dallas Museum of Art, anonymous gift

Fannie B. Shaw’s optimistic quilt was inspired by the prosperity promised by President Herbert Hoover: “Every time you picked up the paper or heard the radio he would talk about good times around the corner. He would make it sound so good. I wondered if I could make a picture of what he said and what he meant. I went to bed one night and couldn’t get it off my mind.” Here’s to optimism then and now!

Viktor Schreckengost (designer), Jazz Bowl, c. 1930-1931, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange

The first “Jazz Bowl” came about when Eleanor and Franklin D. Roosevelt commissioned Cowan pottery to create a work that evoked New York. Viktor Schreckengost’s design captures what the artist called “that funny blue light in New York in 1931 when Cab Calloway’s band was playing.”

Robert Rauschenberg, Skyway, 1964, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr., and General Acquisitions

Here, Robert Rauschenberg has combined everyday images of President John F. Kennedy, space capsules, an American eagle, construction sites, urban scenes, and diagrams of the earth and moon from outer space to reflect 1960s America. These found images he has incorporated with art-historical references and his own freely applied strokes of paint.

In a similar vein, the DMA will be commemorating the 50th anniversary of the assassination of John F. Kennedy by bringing together the works of art installed in the president’s suite at the Hotel Texas during his fateful trip in 1963. Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy will open on May 26, 2013. Keep a look out.

Don’t forget to vote next Tuesday, November 6.

Alex Vargo
McDermott Intern for Gallery Teaching

Reading the Cards: Part 2

This post is the second in a larger series finding connections between the ever-mystical tarot cards and the extraordinary collection of the Dallas Museum of Art.  Head over to the first post for an introduction and a quick look at three card-art comparisons.

The Emperor is the fourth trump card within the major arcana.  He is often depicted sitting on a throne and holding a scepter and shield.  The tarot Emperor is considered the absolute ruler of the world and represents the desire to control one’s surroundings.

Vishnu and attendants, c. 1026 AD, Dallas Museum of Art, gift of Mrs. John Leddy Jones

Richly jeweled as a king would be, Vishnu can be identified in this relief by his traditional attributes: a mace, conch shell, sun wheel (chakra), and beads.  He is shown as a calm, upright figure surrounded by his heavenly court and divine kingdom.  As the Preserver to Shiva’s destruction, Vishnu is the bringer of blessings and prosperity to his followers.

 

The Empress is the third major arcana card in a tarot deck.  The Empress holds a scepter representing her power over life, wears a twelve-starred crown asserting her dominance over the year, and sits on a throne amidst a field of grain showcasing her control over growing things.  Occasionally shown pregnant, the Empress represents creation and abundance.

Madonna and Child, early 15th century, Dallas Museum of Art, Munger Fund

Crowned as the Queen of Heaven, Mary sways gracefully as she supports her son Jesus.  Prophetic in nature, the sculpture displays Mary’s distress resulting from her foreknowledge of her son’s fate.  This portrayal of the Virgin and Child exemplifies Mary’s role as mother and Jesus’ role as savior.

 

The Fool is normally unnumbered, though occasionally represented as zero in the major arcana.  He represents the search for experience and a childlike wonder at the workings of the world.  The Fool is often accompanied by a dog representing the distractions of the “real world.”  Standing at the edge of a cliff, the Fool is oblivious to danger and recklessly seeks out adventure.

Alberto Giacometti, Three Men Walking, 1948-1949, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. Stanley Marcus

Artist Alberto Giacometti said that he sculpted figures as people actually looked to him.  Stick-like in nature, the three bronze figures wander dangerously close to the edge of an elevated platform.  Each faces a different direction as if eager to seek out his or her own adventure.

 

The Hanged Man is the twelfth trump card in a tarot deck.  Depicted as a man suspended from a tree, the Hanged Man’s symbolism often points to the crucifixion of Christ, Osiris in Egyptian mythology, Mithras in Ancient Persian mythology, and Odin in Norse mythology.  The Hanged Man card and these archetypal stories all allude to the destruction of self bringing life to humanity.

Octavio Medellín, El Ahorcado (The Hanged One), c. 1942, Dallas Museum of Art, Kiest Memorial Purchase Prize, Fourteenth Annual Dallas Allied Arts Exhibition, 1943

Raised amidst the ravages of the Mexican Civil War, Octavio Medellí drew much of his inspiration from the Maya-Toltec cultures.  El Ahorcado (The Hanged One) is thought to symbolize Mexico’s effort to free itself from centuries of colonial subjugation and its struggle to find its own democratic path.

 

The Hermit is the ninth major arcana card.  He is shown as an elderly man carrying a staff in one hand and a lit lantern in the other- both signs of wisdom and knowledge.  Sparse in design, the card’s background is mostly sky with the lower portion depicting a wasteland and mountain range in the distance.  The Hermit has already learned the lessons of life throughout his journey and represents a shamanistic hero.

Portrait of an Arhat, 13th century, Dallas Museum of Art, the Roberta Coke Camp Fund, and Lillian B. Clark

Contemplating a lotus flower, this monk represents an arhat.  Arhats were holy men who were originally disciples of the Buddha.  Though they achieved extraordinary spiritual levels, arhats put off their own enlightenment in the pursuit of helping others.

My next post will look at the Hierophant, the High Priestess, Judgment, Justice, and the Lovers!

Pilar Wong

McDermott Intern for Community Teaching

Reading the Cards: Part 1

On a recent trip to New York, I finally had my cards read by a psychic–something that I’ve always wanted to have done!  As she was telling me about a tall, dark, stranger in my future I couldn’t help but notice the vibrant, graphic nature of her card deck. With their flat color planes, Romanesque figures, and dramatic styling, the cards each told a specific portion of the larger tale.

While tarot cards were originally used throughout Europe to play card games, they have become associated in modern culture with mysticism and magic. The deck is divided into two sections: the minor arcana and major arcana. The former is very similar to a modern deck of cards with four suits consisting of ten pip (numbered 2 through 10) and four court cards. The major arcana cards are those most often associated with tarot divination.

This post is my first in a series that will make connections between individual tarot cards and artworks in the DMA’s collection. I’ll share works from our collection that are reminiscent of a card’s imagery or of the card’s meaning in divination practices.

The Chariot is the seventh trump or major arcana card. The card normally depicts a royal figure in a chariot being pulled by horses or sphinxes–one black and one white. A sign of an external battle of wills, the white and black horses often pull in different directions. In a tarot spread, the card can refer to current obstacles or successes in overcoming life’s challenges.

Théodore Géricault, Horse-drawn Cart Full of Wounded Soldiers (Chariot Chargé de Soldats Blessés), 1818, Dallas Museum of Art, Juanity K. Bromberg Memorial Fund and gift of an anonymous donor

This lithograph not only depicts a horse-drawn carriage, but it also exemplifies many of the qualities of the chariot card. Fatigued and wounded soldiers are clearly returning from battle, perhaps even a losing battle. The horses are pulling in so many directions that they are tangling their harnesses and fighting with each other.

Death is the thirteenth major arcana card in a tarot deck. Death is depicted by a skeleton riding a horse and is often shown surrounded by dead and dying people. Despite its name, the card does not represent actual death. Instead, it usually signifies an ending of an era or relationship.

Dakini Vajravarahi, c. A.D. 1600, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Virginia C. and Flyd C. Ramsey Fund of Communities Foundation of Texas, Inc.

Adorned with a necklace of skulls and carrying an executioner’s ax, this dakini, a Buddhist female deity, represents the violent aspects of existence. She also embodies the cycle of life, death, and rebirth which celebrates death as a bringer of life.

The Devil is the fifteenth major arcana card. Tarot images of the Devil show him as a satyr-like creature sitting above or on two humans. If selected during a card reading, the Devil represents self-bondage or barriers to leading a full life. Often, these obstacles are interpreted as vices such as materialism, lust, egotism, etc.

Ferdinand Hodler, The Halberdier, 1895, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund and gift of Nona and Richard Barrett

While Ferdinand Hodler’s The Halberdier actually depicts a Swiss soldier, this image seemed like the perfect choice to represent the Devil. Clothed in a traditional red costume and holding a spiked battle-axe, the soldier evokes several connotations we hold concerning the Devil.

Stay tuned for my next post, which will look at the Emperor, the Empress, the Fool, the Hanged Man, and the Hermit.

Pilar Wong
McDermott Intern for Community Teaching

Fall is (finally) in the air!

It has technically been fall for almost three weeks, and it is just now starting to feel like it. Temperatures in the 70s, presidential debates, brisk winds, sweaters, switching from iced coffee back to regular, lovely fall colors and, of course, a smattering of new DMA exhibitions.

Here are some works from the collection to get you in the autumnal spirit.

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Works featured:

  • Florence E. McClung, Autumn, 1959, Dallas Museum of Art, gift of Florence E. McClung
  • Lynda Benglis, Odalisque (Hey, Hey Frankenthaler), 1969, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund
  • Philip Russell, Autumn Landscape, 1957, Dallas Museum of Art, Leon A. Harris, Sr. Memorial Purchase Prize, 9th Southwestern Exhibition of Prints and Drawings, 1958
  • Marsden Hartley, Mountains, No. 19, 1930, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
  • Zaha Hadid, Tea and Coffee Set, Designed 1996, Executed 2002, Dallas Museum of Art, gift of Deedie and Rusty Rose in honor of Lela Rose and Catherine Rose
  • Mark Rothko, Orange, Red and Red, 1962, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated
  • Everett Spruce, Autumn Landscape, 1955, Dallas Museum of Art, Dallas Art Association purchase, The Seventeenth Annual Exhibition of Texas Painting and Sculpture, 1955
  • John T. Curran (designer), Tiffany and Company (manufacturer), “Aztec” tête-à-tête coffee service, Dallas Museum of Art, anonymous gift and Discretionary Decorative Arts Fund
  • Myron Stout, Untitled, 1950, Dallas Museum of Art, General Acquisitions Fund
  • Henri Fantin-Latour, Fall Flowers, 1863, Dallas Museum of Art, gift of Mr. and Mrs. James H. Clark
  • Navajo people, Eye-Dazzler Blanket, c. 1880-1900, Dallas Museum of Art, Textile Purchase Fund

Alex Vargo

McDermott Intern for Gallery Teaching

The Personal Response Tour

Last spring, I learned about something called the “Personal Response” tour while attending the NAEA convention.  One of my colleagues at the Memphis Brooks Museum of Art said that they use the Personal Response tour as a team-building exercise with staff.  It also provides opportunities to slow down, look closely, and reflect.  We used the Personal Response tour during docent training this week to get our docents to slow down and reflect on their own relationships to works of art in the DMA collection. Docents tour with the same group of people each week, so they were divided into groups based on their touring day.  In this way, it helped them get to know each other a bit better, too.

The Personal Response tour was formulated by Ray Williams, who is now at the Blanton Museum of Art at the University of Texas.  During this tour, docents were asked to select a card that contained an open-ended prompt to guide their time in the galleries.  I took some of the prompts from an article written by Ray Williams* and composed ten additional prompts for docents.  They were given time to explore the galleries and select the work of art that, for them, was the best response to their prompt.  After selecting a work of art, docents spent ten minutes jotting down their thoughts and reactions to their prompt.  After ten minutes had passed, we came back together and everyone shared their response with the group.  I was amazed by how open our docents were to this experience, and also how thoughtful their responses were.  Below are just a few of their selections:

Prompt: Find a work of art that reminds you of something from your past…What are the connections?
One docent had to take piano lessons when she was little and did not enjoy them.  She felt that the young person in At the Piano is obviously disinterested in playing the piano, and that was her attitude when she had to practice, too.  But now she wishes that she had spent more time practicing and had really learned to play the piano.  She has a piano in her home today and still wishes she knew how to play it.

Cecilia Beaux, At the Piano, c. 1890, Graham Williford Foundation for American Art, 145.1994.3

Prompt: Find a work of art that embodies some aspect of peace.
One of the docents selected a shroud or ceremonial hanging (sekomandi) from Indonesia.  The shroud was owned throughout someone’s life and was then used to bury them following their death.  The docent felt that the shroud conveyed a message that “everything will be okay, because you’re joining all of your ancestors.”

Shroud or ceremonial hanging (sekomandi), Toraja people, Indonesia, probably late 19th century, Dallas Museum of Art, the Steven G. Alpert Collection of Indonesian Textiles, gift of the McDermott Foundation, 1983.126

Prompt: Find a work of art that reminds you of childhood.  What resonates with you?  What elements of childhood do you wish were still a part of your life?
The Beach at Trouville reminded one docent of spending her summer vacations at a family home in Ogunquit, Maine, visiting her grandmother. She fondly remembers the beautiful beaches, like the one in the painting. She and her husband still have a house in Maine, but it is not near a beautiful beach like the one from her childhood.

Albert Marquet, The Beach at Trouville, c. 1906, Dallas Museum of Art, gift of the Meadows Foundation Incorporated, 1981.121, © Albert Marquet Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

Prompt: Select a work of art to take on a date.  Where would you go?  What would you do?  What would you discuss?
Andrea’s Response: I would like to go on a date with The Bugler because 1) his ability to play the bugle so well indicates at least some level of intelligence; 2) he is decently attractive and well-dressed; and 3) if the dinner conversation starts to wane, he can just play me some tunes.

Edouard Manet, The Bugler (Le Clarion), 1882, Lent by the Pauline Allen Gill Foundation, 57.2006.8

Prompt: Select a work of art that you would like to hang above your sofa.  Why?  What would visitors to your home learn about you?
My Response: I would select the sword ornament in the form of a lion.  I’m a Leo, so I associate with the lion in that we’re proud and protective of those we love. But I also think this lion has a huge smile on his face, and I like to laugh and be playful, too.

Sword ornament in the form of a lion, Asante people, Ghana, c. mid-20th century, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2010.2.McD

I’m going to pose one final prompt for all of you–what work of art from the DMA collection embodies, for you, pure joy?  Why?  I can’t wait to read your responses!

Shannon Karol
Manager of Docent Programs and Gallery Teaching

*Ray Williams, “Honoring the Personal Response: A Strategy for Serving the Public Hunger for Connection,” Journal of Museum Education, Volume 35, Number 1, Spring 2010, pp. 93-101.

Back to School: From the Classroom to the DMA Collection

Now that all the kiddos are settled back into school, I began to think about how the Museum‘s collection could inspire them to keep learning outside the classroom. With the most common school subjects in mind, I decided to find works of art that might help them with their studies. Check out my pairings below.

Math

Upon first glance, it’s hard to tell if this large scale sculpture is symmetrical or asymmetrical. It takes a careful walk all the way around the work of art to find out.

Untitled, Ellsworth Kelly, 1982-1983, Dallas Museum of Art, commission made possible through funds donated by Michael J. Collins and matching grants from The 500, Inc., and the 1982 Tiffany & Company benefit opening

History

An historical figure, period, or event is often the subject of a work of art. This particular work features all three. Some of the imagery in Skyway includes President Kennedy and images of space exploration. Overall, the haphazard, overlapping composition captures the tumultuous time of change in the Sixties. What else does this colorful collage tell you about the Sixties?

Skyway, Robert Rauschenberg, 1964, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund

English

Some works of art are inspired by literature, like Cinderella at the Kitchen Fire. While it’s easy to find Cinderella in this beautiful work of art, it’s not as easy to tell which part of the Cinderella story is being depicted. Come to the Museum to get a closer look at all the details a photograph can’t capture, so you can guess which part of the classic fairy tale this could be. I’ll give you a big hint: there’s more than one right answer!

Cinderella at the Kitchen Fire, Thomas Sully, 1843, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation

Geography

From the icy waters of the North Atlantic to the rolling hills of the French-Italian Riviera, wandering through the Museum galleries can take you on a trip around the world to a variety of climates and terrains. How many new places can you discover on your next visit?

The Icebergs, Frederic Edwin Church, 1861, Dallas Museum of Art, gift of Norma and Lamar Hunt

Valle Buona, Near Bordighera, Claude Monet, 1884, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Homework

Hopefully these collection connections will make learning in the Museum more fun for you and the kiddos than studying is for this little boy:

The First Thorns of Knowledge (Les premières épines de la science), Hugues Merle, 1864, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Hannah Burney
Community Teaching Programs Assistant

Kids Say the Darndest Things!

I spy with my little eye…children at the museum!

On any given day, there are always programs being offered for our younger museum visitors. During the week, you can often spot them in lively school groups engaging in interactive docent tours. And don’t be surprised if their enthusiasm can be heard from the hallways as they participate in exciting art activities in the Center for Creative Connections. Our programs also go beyond the museum and into the community, bringing art to the classroom with Go van Gogh. These are just a few examples of the many ways the folks here at the DMA are facilitating fun learning experiences that encourage participation and self-expression. But don’t take it from me! Our young participants really say it best. Below are some of their candid comments from the 2011 – 2012 school year.

Docent Tours

  • “These paintings look weird to me,” a puzzled 4th-grade girl commented while walking through the Impressionist gallery.
  • “Wouldn’t you like to drink out of these amazing cups?” a docent asked about a group of gold Peruvian mugs. “Uh, if I cleaned them first,” replied a 4th-grade boy.
  • A 4th-grade boy noticed a Peruvian Mask with copper covered eye holes and mused, “I wonder how many times the guy wearing that ran into the wall?”
  • “Even if you are a leader, you still need help,” reasoned a 4th-grade boy when asked to interpret the proverb expressed by an African sculpture.
  • After an hour long tour, these 4th-graders still wanted more, as expressed by this excited girl who asked, “What else are we going to see? Are we going to see the really really really big artworks now?!” Referring to the Mark Bradford work they had passed by on the way in.

Center for Creative Connections

  • “They always make us paint with crazy things!” said a young girl in reaction to painting with kitchen tools in an Arturo’s Art & Me class.
  • “I thought it was going to be a person, but it turned out to be a ballerina,” explained an eight-year-old girl about her finished artwork.
  • A nine-year-old girl titled her art piece Man Gives Flowers and reflected that, while she made it, she thought of “romantic love.”

Go van Gogh Classroom Programs

  • “Hi, I am from the Dallas Museum of Art!” announced the volunteer. “Really?! Yessss. I LOVE art!!” exclaimed an enthusiastic 2nd-grade girl.
  • “Make the minutes last! Make the next two minutes an hour!” declared a 5th-grade boy after being told that only five minutes remained.
  • “Wow,” a 4th-grade boy said of the hat he was making, “mine is turning out reeeeally neat.”
  • “I have no idea what I am doing. I just went wild on it,” laughed a 4th-grade boy about his art project.

If you have any memorable museum moments with kids, please share them in the comments section!

Hannah Burney

McDermott Education Intern for Teaching Programs and Partnerships

DMA Teacher Workshops: Top Ten Reasons to Attend

10.  Experience something new.

9.  Spend time in special exhibitions.

8.  Share and learn new strategies for teaching and learning with art.

7.  Collect CPE hours.

6.  Explore ideas across cultures and times.

5.  Connect with DMA staff, visiting artists, and scholars.

4.  Gather with educators and dive into rich conversations.

3.  Participate in creative thinking and making.

2.  Take long and close looks at works of art.

1.  See art, teaching, and life in a fresh way.

French Cancan collection, women’s prêt-à-porter, fall/winter 1991-1992, © P. Stable/Jean Paul Gaultier

Scorched Earth, 2006, Mark Bradford, billboard paper, photomechanical reproductions, acrylic gel medium, carbon paper, acrylic paint, bleach, and additional mixed media on canvas, 94 1/2 x 118 inches, collection of Dennis and Debra Scholl, photo: Bruce M. White

Whether it’s your first or fifty-first workshop, we invite you to join us for several teacher workshops occurring this Fall and Winter at the Dallas Museum of Art.  Each workshop begins with an introduction, creative warm-up, and browse of resources.  Gallery experiences include sketching, writing, independent reflection, and group discussion with peer educators, artists, and experts.  K-12 teachers of all disciplines are welcome!

Join us on Saturday, October 22 for Layered Materials, Layered Meanings: Mark Bradford to take a close look at the work of L.A.-based artist Mark Bradford.  Artist Tom Russotti will lead an Art & Games workshop on Saturday, November 12, emphasizing play, problem-solving, and games in relationship to works of art.  Spend a full day exploring Art & Fashion in the exhibition The Fashion World of Jean Paul Gaultier and throughout the DMA collections.  Teachers may register for workshops online.

Visit the DMA this Friday, September 16 for the monthly Late Night.  Educators receive half-price admission ($5) after 5:00 p.m. on September 16 when they show their school I.D.  Drop by the Educator Resource table, talk with staff about upcoming teacher programs, and win door prizes.

Nicole Stutzman
Director of Teaching Programs and Resources

Just can't get enough…

For those educators who cannot get enough of the DMA this summer, we have many professional development opportunities for you!   With a possibility of earning over sixty CPE credit hours, these sessions are open to K-12 educators across all disciplines and schools.    We hope to see you at one or more of the sessions listed below.

Summer Seminar 2011: Teaching for Creativity
June 14 – 17, 2011, 9:00 a.m. – 4:00 p.m. daily
24 CPE Hours; limit fifteen
Registration is due May, 30, 2011

Designed for teachers of all grade levels and subjects, Summer Seminar is an immersive experience in the Dallas Museum of Art’s galleries and Center for Creative Connections.   Conversations, experiences with works of art in the Dallas Museum of Art’s galleries, and creative thinking techniques will be used to create an enriching experience for teachers and models for use in the classroom.


North American Wildlife at the Dallas Zoo and in the “Art of the American Indians: The Thaw Collection” at the Dallas Museum of Art
Friday, July 15, 2011, 9:00 a.m.–4:30 p.m.
6 CPE hours; limit thirty

Teachers will explore the relationships between American Indian cultures and native North American wildlife.    Participants will closely observe animals at the Dallas Zoo and will study works of art in the Dallas Museum of Art’s exhibition Art of the American Indians: The Thaw Collection.



Museum Forum for Teachers: Modern & Contemporary Art 
July 25- July 29, 2011, 10:00 a.m.-4:00 p.m. daily
30 CPE Hours; limited to twenty-five middle and high school teachers; application is due May, 23, 2011

Teachers will deepen their understanding of contemporary art and architecture through gallery experiences and discussions.   Participants will spend each day at one of five area institutions: Modern Art Museum of Fort Worth, Kimbell Art Museum, Dallas Museum of Art, Nasher Sculpture Center, and The Rachofsky House.


Art of the American Indians: The Thaw Collection   
August 9, 2011, 9:00 a.m.–12:30 p.m.
3.5 CPE hours; limit twenty-five

Explore the belief systems of American Indian cultures through artworks in the Art of the American Indians: The Thaw Collection exhibition. 


Please note that the Dallas Museum of Art is accredited by the Texas State Board for Educator Certification, and participating educators will earn Continuing Professional Education (CPE) hours during Teacher Workshops, Summer Seminar, and Museum Forum.

Until next time….

Jenny Marvel
Manager of Programs and Resources for Teachers


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