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Posts Tagged 'Dallas Museum of Art'

World AIDS Day

Published December 2, 2013 Exhibitions Closed
Tags: Dallas Museum of Art, DMA, Jim Hodges, Jim Hodges: Give More Than You Take, World AIDS Day

Yesterday, we observed the 25th anniversary of World AIDS Day with a screening of Untitled, a film by Jim Hodges, Encke King, and Carlos Marques da Cruz.

Untitled begins with a reflection on the early AIDS epidemic. Following a nonlinear narrative, the film brings together mainstream network news, activist footage, artists’ works, and popular entertainment, referencing regimes of power that precipitated a generation of AIDS and queer activism, and continues today with international struggles for freedom and expression. If you missed yesterday’s screening, don’t worry! We will show Untitled again on January 11 at 1:00 p.m. And don’t miss the DMA-organized exhibition Jim Hodges: Give More Than You Take, on view at the DMA through January 12.

Meg Smith is the curatorial administrative assistant for contemporary art at the DMA.

Give Thanks

Published November 28, 2013 People , works of art Closed
Tags: Art, Dallas Museum of Art, Thankful

At this time of year, many people begin to take stock of moments and experiences they are thankful for. The act of sharing this gratitude with others, and reviewing those things that may have been taken for granted, can actually increase an individual’s well-being. According to Cicero, “Gratitude is not only the greatest of the virtues but the parent of all others.” In an effort to spread this sense of well-being to our Canvas blog readers, I asked my colleagues in the Education Division to share a work of art from the DMA’s permanent collection or special exhibitions that they are thankful for—whether it is a work they enjoy visiting in a moment of free time; or perhaps one they regularly use in a program; or even a work of art they would like to learn more about. Enjoy their responses below and of course, feel free to share your own!

Amanda Batson – C3 Program Coordinator. I am thankful for The Halberdier by Ferdinand Hodler, located in our European collection. This massive work of art confronts you as you exit the blue elevators in an inescapable way. At first glance, the soldier seems fierce and almost living up to his reputation as the ultimate protector of Switzerland. I am incredibly thankful for this work of art by Hodler because no matter how fierce or stoic it may seem—it has a bit of whimsy. If you look closely you will notice that the mustache of the Swiss soldier goes up towards his cheek on one side and down towards his chin on the other. I am not sure what the intention of the artist was but I cannot help but laugh about this every time I see it! Some days you just really need a laugh!

Amelia Wood – McDermott Intern for Family and Access Teaching. When Jim Hodges: Give More Than YouTake opened in October, I immediately felt a connection with the artwork.I was especially struck by Diary of Flowers (When We Met). My interest in diaries was sparked when I saw Day After Day: The Diaristic Impulse at the University Art Museum in Albany, NY, last spring.Artists involved in this show were focused on recording their daily lives, including personal rituals, narratives, and experiences. I’ve never been great at keeping a diary, and I was moved by the way in which the process of keeping a diary forces you to slow down and appreciate day-to-day life. Hodges Diary of Flowers has evoked a similar response in me, and I’ve enjoyed revisiting the artwork when I need a reminder to slow down and, well, smell the flowers.

Rhiannon Martin – Volunteer Coordinator. I am thankful for the sculpture garden as a whole, because it is a nice place to escape from the busy work day for a bit and enjoy the weather when it’s nice out. The sculptures throughout the lawn are a beautiful backdrop and help to create a wonderful space to sit and relax.

Amy Elms – McDermott Intern for Visitor Engagement. I’m thankful for Family Portrait 1963 because it helped me to become oriented with the DMA’s weekend Studio Creations when my internship first began. Martin Delabano’s sculpture is filled with so much hidden meaning and is also made from a variety of found objects. While helping with Studio Creations in September, I really enjoyed learning about ways that visitors of all ages can become engaged with a work of art.

Leah Hanson – Manager of Early Learning I’m grateful for Henri Matisse’s Ivy in Flower primarily because it just makes me happy. I like the bold, clean shapes, the colors, and the order of it. Matisse was a favorite of mine in the art history classes I took, and I wrote a paper about his cut paper collages in particular. I liked that he found a way to create even at a time when it could have been easy to give up or lose hope. When I finally got to see this in person, I was so amazed at how large it is…you can never tell that in a reproduction or a print. I loved when it was hanging in the Concourse just outside C3 because I saw it every day.

JC Bigornia – C3 Program Coordinator. I’m impacted to this day by the 2007 special exhibition Phil Collins: The World Won’t Listen . It’s one of my top five all-time favorite DMA exhibitions, and I can still feel the energy and sheer joy of being in that space. It’s hard to describe the appeal of watching people sing karaoke, and I certainly hadn’t listened to much of The Smiths before that show. I think what resonated for me was the absolute love and passion that each person brought to their performance; you could totally empathize with that person’s sense of happiness, loss, etc. I used to spend part of every day in that exhibition because no matter how down I felt, I always came out of there feeling charged up…there’s really no other word to describe it except infectious. I was always thankful to have that kind of place to escape to and I think the lessons I took away from each of the participant’s performances—bravery, honesty, compassion—will always stay with me.
Jessica Fuentes – C3 Gallery Coordinator. I’m thankful for HI-C Avenger by John Hernandez. I love that this piece is so bright and energetic. It catches the attention of visitors of all ages, and as it is currently installed at the entrance of the Center for Creative Connections, an interactive educational space for all ages, it is a perfect fit! I also love telling visitors that this is a piece by a Texas based artist who used to live in Oak Cliff and graduated from UNT. Having work by local artists can be so inspiring to young artists.

Hayley Prihoda – McDermott Intern for Gallery and Community Teaching. Picturing that Day stood out to me on my first tour of the Jim Hodges: Give More Than You Take exhibition and, after innumerable visits, has remained one of my favorite works in the show. Having performed in choir in high school, the imagery of the sheet music immediately reminded me of my adolescence. Upon closer examination, I was excited to discover that the piece also features two of my favorite songs – “Landslide” and “Climb Every Mountain”. My mom is a beautiful singer and my sister and I grew up listening to Fleetwood Mac and watching the Sound of Music. Now that I am 1000 miles away from my family, I am very grateful to have this connection to home on view at the DMA.
Amanda Blake – Head of Family, Access, and School Experiences. I am thankful for Isaac Soyer’s Art Beauty Shoppe in the American galleries. In graduate school I focused on American art from the 1920s and 1930s and wrote my thesis on two artists from the Fourteenth Street School. Every time I see this painting it is like visiting a familiar friend and traveling back in time to 14^th street in New York City! I love teaching with this artwork because of its narrative aspects and sensory possibilities. I think this painting is a great one to use to teach about the social and cultural changes taking place in the early twentieth century and I enjoy using it with all ages.

Isaac Soyer, Art Beauty Shoppe, 1934

Exploring the senses with Art Beauty Shoppe

Peep-themed Art Beauty Shoppe

Works of art shown:

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
Jim Hodges, Diary of Flowers (When We Met), 1994, Barbara and Michael Gamson
Ellsworth Kelly, Untitled, 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
Martin Delabano, Family Portrait 1963, 2001, Dallas Museum of Art, gift of Mr. and Mrs. Bryant M. Hanley, Jr., Lorine and David H. Gibson, and Sonny Burt and Bob Butler
Henri Matisse, Ivy in Flower, 1953, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Albert and Mary Lasker Foundation
Phil Collins, dunia tak akan mendengar, 2007
John Hernandez, HI-C Avenger, 1992, acrylic on wood, Dallas Museum of Art, Texas Artists Fund
Jim Hodges, Picturing That Day, 2002, The Art Institute of Chicago
Isaac Soyer, Art Beauty Shoppe, 1934, Dallas Museum of Art, gift of the Public Works of Art Project

I’d like to say how thankful I am to all of you who shared some of your favorite works of art!

Danielle Schulz
Teaching Specialist

Run the DMA Marathon

Published November 27, 2013 Collections , Dallas , DFW 1 Comment
Tags: Coffin of Horankh, Crawford Riddle, Dallas Museum of Art, Dallas PCS Marathon, DMA, Fernand Léger, Gerald Murphy, Mark Rothko, Pablo Picasso, Robert Rauschenberg, Rufino Tamayo, Tlaloc, Vincent van Gogh

It’s that time of year again, and the excitement of the Dallas PCS Marathon has arrived! Last year, the marathon races drew over 15,700 runners and 300,000 spectators. It’s expected to be bigger than ever this year, and the city of Dallas is pulling out all the stops. The Dallas Museum of Art is joining the city in welcoming runners and their friends, families, and fans alike!

As both a McDermott intern in the education department and a runner, I had the pleasure (and pain!) of gaining my Museum feet during the height of my training for the marathon. As I learned to navigate through the galleries, I discovered that the DMA has many things in common with a marathon: it’s huge, it’s inspirational, and there are lots of friendly staff members to support you along your journey. Therefore, I am thrilled to combine two of my passions–running and museums–in inviting you to embark on your very own DMA Marathon. I’ve highlighted some of my favorite artworks throughout the DMA’s galleries, hand-picked to motivate, inspire, and refuel you. So, what are you waiting for? Lace up your running shoes, and get ready to explore!

Registration: DMA Atrium
The DMA has free general admission (every day!), so you don’t need to pull out your wallet for this race. But please do hit up the Visitor Services Desk to sign up for the DMA Friends program. With your shiny new DMA Friends membership, you’ll be able to check in at various locations in the Museum and earn points toward exciting DMA rewards such as free parking, sneak peeks at new exhibitions, and exclusive Museum experiences. The Atrium is also a great place to grab a pre-race bite in the DMA Cafe, use the line-free bathrooms, and get in your stretches in front of Robert Rauschenberg’s breathtaking Skyway or Rufino Tamayo’s iconic painting El Hombre (Man).

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY

Rufino Tamayo, El Hombre (Man), 1953, vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds, (c) Estate of the artist in support of Fundacion Olga y Rufino Tamayo, A.C.

Resist Temptation and Find Your Pace: Level 4: Ancient American Art and American Art
The starting gun goes off and you head up the stairs to Level 4, where you will come face to face with Tlaloc, the DMA’s rain god. But no need to worry about rain inside the Museum, Tlaloc was also a war god and will send you off with blessings of stamina and power!

Head of the rain god Tlaloc, Mixtec, Late Postclassic period, c. 1300-1500, ceramic, tufa, stucco, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus in memory of Mary Freiberg

As you make your way by Crawford Riddle’s bedstead, deemed “The Big Bed” by our younger visitors, try not to be distracted with thoughts of putting your feet up so early in the race. You’ve worked hard to prepare for this moment, and this bed should serve as a reminder that some well-deserved relaxation awaits you at the end of this journey!

Crawford Riddell, Bed, c. 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Bedstead, Crawford Riddell, c. 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Also, I know how easy it is to let the excitement of the race throw off your timing. Gerald Murphy’s Watch is a great reminder to check your pace and adjust your gallery viewing speed if necessary.

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, (c) Estate of Honoria Murphy Donnelly

Dodge Obstacles and Find Inspiration: Level 3: Arts of Africa, Asia, and the Pacific, The Wendy and Emery Reves Collection
Head down the stairs to Level 3, where you will come face to face with sculptures, jewelry, and artifacts from Africa, Asia, and the Pacific. You may want to pick up the pace when you spot the coffin of Horankh in the Ancient Egyptian gallery. We have several Egyptian coffins (including one with an actual mummy inside!), and although they are beautiful, they are rumored to look a little too alive at times!

Coffin of Horankh, Late Period, c. 700 B.C., Thebes, Egypt, wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Coffin of Horankh, Egypt, Thebes, Late Period, c. 700 B.C., wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Before you leave the third floor, loop around to the Wendy and Emery Reves Collection for some inspiration. Vincent van Gogh’s Sheaves of Wheat is a breathtaking sight that should not be missed!

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

Beat “The Wall”: Level 2: Ancient Mediterranean and European Art
Trot down the stairs to Level 2, where you will glide between athletic bodies featured in the Greek and Roman statues, busts, and antiquities. Pat yourself on the back; after this race, you will be able to rank yourself among these talented athletes!
At this point in the race, it is common to hit “the wall,” and you may be starting to feel like the characters in Fernand Leger’s Divers or Picasso’s Guitarist in the European galleries, but keep going–you’re almost to the end!

Fernand Léger, The Divers (Red and Black), 1942, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, (c) Artists Rights Society (ARS), New York/ADAGP, Paris

Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, (c) Estate of Pablo Picasso/Artists Rights Society (ARS), New York

The Light at the End of the Tunnel: Level 1: Contemporary Art
Your heart is pounding as you head into the final stretch of the marathon. Your final leg will take you back up the Museum Concourse to the finish line in the contemporary art galleries. You can hardly believe your eyes when you catch a glimpse of Mark Rothko’s Orange, Red and Red and wonder if you are seeing a mirage. But it is real, and the finish line is surrounded by gorgeous contemporary works. Take in the sights as you relish this moment–you did it!

Mark Rothko, Orange, Red and Red, 1962, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, (c) 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

It’s been my pleasure to take you along on the DMA Marathon. We hope that you are able to join us during marathon weekend and experience the Museum firsthand! Best of luck to all of my fellow runners; see you at the finish line!

Amelia Wood is the McDermott intern for family & access teaching at the DMA.

Steamboat Mayflower

Published November 25, 2013 Collections Closed
Tags: Dallas Museum of Art, DMA, Mayflower, Nathaniel Currier, Thanksgiving

While New England can claim the original Mayflower, the South has the Steamboat Mayflower! The DMA’s collection includes this 1855 color lithograph by Nathaniel Currier of the high-pressure steamboat Mayflower.

Happy Thanksgiving to you and yours, and safe travels whether by plane, car, or steamboat!

Nathaniel Currier, after Charles Parsons, High Pressure Steamboat Mayflower, 1855, color lithograph, Dallas Museum of Art, Junior League Print Fund

Stacey Lizotte is the head of adult programming and multimedia services at the DMA.

Art is a Form of Truth

Published November 22, 2013 Collections 1 Comment
Tags: Dallas Museum of Art, DMA, President John F. Kennedy, Robert Raushenberg

We must never forget that art is not a form of propaganda; it is a form of truth. … In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society – in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost’s hired man, the fate of having “nothing to look backward to with pride, and nothing to look forward to with hope.”
– President John F. Kennedy, Amherst College, October 26, 1963

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr., and General Acquisitions Fund, © Rauschenberg Estate/Licensed by VAGA, New York, NY

State of the Arts: Rising Talent—Three Artists/Three Questions

Published November 20, 2013 Dallas , DFW Closed
Tags: Bruce Wood, Bruce Wood Dance Project, Dallas Museum of Art, Dallas Theater Center, DMA, Sarah Jaffe, Second Thought Theater, State of the Arts, Steven Walters

This Thursday, November 21, at 7:30 p.m., the Dallas Museum of Art will feature three local artists in conversation about the art scene in the Metroplex. We asked them each a question about their work before they take the stage on Thursday!

Photo by Michael A. Muller

Sarah Jaffe, musician
What is your favorite venue to play at in the Metroplex and which performance there stands out in your mind?
I have a few that I’m quite partial to. I love Sons of Hermann Hall. I haven’t played there in quite some time but played a lot of memorable shows there. I’m partial to Club Dada as well because I played my very first shows in that club. But my favorite venue is The Granada. I remember the very first time I played that theater almost eight years ago. Then I remember six years later selling it out for my first time. It was an incredible night for me and my band members. The crowd was full of energy. It was a celebratory night.

Steven Walters, actor, Dallas Theater Center, and founder, Second Thought Theatre
You’ve been working in the Dallas theater scene for a while now, including founding Second Thought Theatre. How has Dallas and the local community influenced your work?
I truly love this city. I cut my teeth here. Dallas is a city of “Doers.” From my point of view, it’s a fundamental part of the culture of the Big D—we get stuff done. Sometimes though, in the process of getting things done and driving toward our goals, we Dallasites don’t take the time to stop and take stock. Second Thought Theatre was founded, in part, in response to this characteristic. STT’s mission essentially says, Stop what you’re doing for an hour or two, and let us tell you a story. We’ll make you think about your life and your community. Sometimes we’ll make you laugh, and other times we’ll make you question your ideas. But it’ll always be a changing experience. And after the show’s done, you can take it with you into your day to day life, or you can leave it at the theater until the next time you come see us. I’ve always been in a dialogue with this city through my work at Second Thought Theatre.

Bruce Wood, founder, Bruce Wood Dance Project
You draw inspiration from many avenues, and Texas has influenced you in many ways and is seen through many of your pieces, including “Dust” and “Texas.” Can you tell us a bit about how Texas has influenced your artistic vision?
I grew up in a part of Texas where you could see twenty miles in any direction. I think of it as beautiful. I consider that my land. I know it has shaped my aesthetic, because it shaped me. My work is spare and free from artifice. I love empty space in a dance. I don’t feel compelled to fill all of the space with dance. It’s okay to leave some room for the dance to breathe. I am also okay with stillness, which is ironic considering the form is about movement, but stillness gives movement importance. If you want to make a movement important, you surround it by stillness. I’m from Texas. I have found that I grow better in empty spaces with big skies; bright, dazzling, relentless sun; and winds that just rip across the land. I wouldn’t be the same and the work would not be the same. It’s really that simple.

Join us on Thursday evening to learn more about our guests and perhaps draw a little inspiration.

Note: Some answers have been edited for space.

Liz Menz is the manager of adult programming at the DMA.

Museum Mustaches for Movember

Published November 19, 2013 Collections Closed
Tags: Charles Webster Hawthorne, Dallas Museum of Art, DMA, Frida Kahlo, Jerry Bywaters, Jose Maria Rodallega, Movember, Pablo Picasso, Rafael Ximeno y Planes, Virabhadra

It’s that time of year—the leaves are starting to change colors, the weather is getting cooler, and men everywhere are starting to grow mustaches.

We are getting close to the halfway point of the monthlong event of Movember, in which men give their razors a break to raise awareness of men’s health issues, such as prostate cancer.

In honor of this great month, and because I am a woman and cannot grow a ‘stache, I’ve included images of my favorite mustachioed men currently on view at the Dallas Museum of Art.

Rafael Ximeno y Planes, The Silversmith Jose Maria Rodallega, c. 1795, oil on canvas, Lent by Felipe Siegel, Anna and Andres Siegel

Jose Maria Rodallega, one of Mexico’s most famous silversmiths, is sporting first-week-of-Movember stubble in the Spanish Colonial Gallery on Level 4.

Jerry Bywaters, Share Cropper, 1937, oil on Masonite, Dallas Museum of Art, Allied Arts Civic Prize, Eighth Annual Dallas Allied Arts Exhibition, 1937

Also on Level 4 is Jerry Bywaters’ Share Cropper, who is sporting a patchy week 2 mustache, but don’t tell him I said that.

Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund

Is there a mustache in Pablo Picasso’s The Guitarist? Check out this crazy cubist painting on Level 2 and decide for yourself.

Virabhadra, Karnataka or Kerala, India, 16th–17th century, stone, Dallas Museum of Art, gift of Alvin and David T. Owsley via the Alvin and Lucy Owsley Foundation in memory of Colonel Alvin M. Owsley, with the assistance of the Wendover Fund

The Hindu god Shiva is seen on Level 3 in a warlike form as Virabhadra. He has a perfectly groomed mustache fit for a god, and he gets bonus points for the super cool hat.

Charles Webster Hawthorne, The Fish and the Man, 1925, oil on canvas affixed to composition board, Dallas Museum of Art, Dallas Art Association Purchase

Check out this epic mustache found on Level 4! Maybe by the end of Movember, many men will have a mustache as amazing as this Cape Cod fisherman’s.

Frida Kahlo, Itzicuintli Dog with Me, c. 1938, oil on canvas, Lent by Private Collection

Oh, Frida. You are the only woman I know who can rock a mustache! You go girl!

You can learn more about Movember and how to donate to men’s health programs by visiting the Movember Foundation’s website.

Madeleine Fitzgerald is the McDermott Education Intern for adult programming and Arts & Letters Live at the DMA.

Creating the DMA Conservation Studio

Published November 18, 2013 Behind-the-Scenes , Conservation , Dallas , DFW Closed
Tags: Conservation Studio, Dallas Museum of Art, DMA, Mark Leonard, Painting Conservation

In the summer of 2012, the Dallas Museum of Art began making plans to renovate the former Seventeen Seventeen Restaurant space and transform it into a new Paintings Conservation Studio as part of the Museum’s initiative to establish a more comprehensive in-house conservation program. Construction began in the fall of 2012, and the studio is now complete, as is the adjacent Conservation Gallery. This time-lapse film captures the building process, as seen from the vantage point of what is now a public gallery space.

The Paintings Conservation Studio features state-of-the-art technology—including a digital X-ray system—and will serve as a center for the study and treatment of works of art, as well as research into cutting-edge conservation methodologies. Brightened with natural light from new skylights and enclosed by glass walls, the studio’s design will allow visitors to observe daily activity, providing audiences with a singular behind-the-scenes experience. Activities in the studio also will be visible from both the Conservation Gallery and the adjacent outdoor Rose Family Sculpture Terrace.

The first exhibition in the gallery, Behind the Scenes, highlights the artists’ original materials and techniques, as well as the conservation histories of the works on display, exploring the various treatments they have undergone. This adjoining gallery will regularly rotate works, providing a space to explore the conservation process in greater detail through visual representations.

Mark Leonard is the chief conservator at the DMA.

Rooms Within Rooms – Stephen Lapthisophon

Published November 15, 2013 Exhibitions , Guest Blog Post Closed
Tags: Artist Talk, Concentrations 56: Stephen Lapthisophon, Dallas Museum of Art, DMA, Stephen Lapthisophon

Stephen Lapthisophon shared with “Uncrated” what he hoped visitors would see and take from his exhibition Concentrations 56: Stephen Lapthisophon—coffee, seasonal fruit, root vegetables, and “Selected Poems,” currently on view at the DMA.

This is an exhibition that can be approached in many ways. It is an exhibition about how we approach the art. How our bodies move through space, and the things, materials, and stuff we carry around with us. It is a show about closeness and distance. The exhibition is divided into two distinct but related rooms. And rooms and walls within rooms. And boxes and drawers and suitcases within the rooms and underneath the drawers. The layers of accumulated dirt, marks, stains, scrapes, and scratches are an invitation to stay. I hope the works ask you to ask questions.

Pencils, ink, cardboard, olive oil, and rust. Bacon fat, spray paint, sheetrock, nails, bricks, rosemary, and books. String, coffee, eggshells, dirt, wax, saffron, and more dirt. A desk, a ladder, and books. This exhibition exists in tribute. Reading, thinking, and acting through and with things. “Denken ist Danken.”

Before the opening, Lapthisophon sat down with us to discuss his art and process. Find out more in the video below:

What did you feel and think after visiting “Concentrations 56: Stephen Lapthisophon”?

Stephen Lapthisophon is an artist and educator.

What Hopper Saw

Published November 13, 2013 Exhibitions , Guest Blog Post Closed
Tags: Carter E. Foster, Dallas Museum of Art, DMA, Edward Hopper, Hopper Drawing: A Painter's Process

The opening of the much-anticipated exhibition Hopper Drawing: A Painter’s Process is just around the corner. Organized by Curator of Drawings Carter E. Foster of the Whitney Museum of American Art, New York, the show had a very successful run there before coming to Dallas. Shortly before the show’s opening here, we were fortunate to sit down with Carter for a quick Q&A to learn a bit more about the exhibition.

Edward Hopper, Self-Portrait, 1945, fabricated chalk and charcoal on paper, Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.287, © Heirs of Josephine N. Hopper, licensed by Whitney Museum of American Art, N.Y.

In what regard did Hopper hold his drawings? Simply as a means to an end? Or more?
Hopper actually tended to belittle his drawings when asked about them. During his lifetime, he somewhat reluctantly shared them with others when they inquired about his drawings. He most definitely considered himself first and foremost a painter, and his drawings were the means through which he worked out his ideas for paintings. But he also seems to have done them for his own private satisfaction, as many artists do, as a way to keep his hand and eye honed.

Study for New York Movie, 1938 or 1939, fabricated chalk on paper, Whitney Museum of American Art. Image courtesy of gwen-photoblog.blogspot.com

Do you have a favorite drawing,or suite of drawings that have a particular appeal? And, why?
There are many, but I especially love the close-up bust-length study for New York Movie, in which Hopper features just the slightest winsome half-smile on the face of the usherette (in this case, his wife, Jo, who posed for him). The technique of this drawing is just amazing, with a variety of textures and great subtlety in the play of light across her face.

Did you have any preconceived notions that were overturned by what you learned during your research?
No. When I do research I try to let the material lead the way. Research is about asking the right questions, rather than having pre-formed ideas.

How did you discover some of New York’s buildings in Hopper’s drawings?
Mainly by looking at the incredible collection of photographs from the 1930s commissioned by the Local History division of the New York Public Library. They are all online and searchable by street location. Very useful! Also, the collection of “Subway construction photographs” at the New York Historical Society was an important source of images of a vanished New York City.

How did your idea for this exhibition develop?
Since I’m curator of drawings, and half of our drawing collection is works by Edward Hopper, it made perfect sense to propose an exhibition. I was lucky to be able to delve in so deeply.

Edward Hopper, Study for Nighthawks, 1942, fabricated chalk and charcoal on paper, Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65, © Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art, N.Y.

What new discoveries about Hopper’s drawing process did you make in the course of working on this exhibition?
The heart of this exhibition is examining what Hopper saw, what he drew, and what he painted in order to understand better his artistic process. I think the research, in particular on Nighthawks and New York Movie, helped us elucidate more clearly than ever before the way Hopper tweaked and tinkered with reality to get to his uncanny, often strange, and ultimately universal imagery of the human condition and the self in the world.

Martha MacLeod is the curatorial administrative assistant for the European and American Art Department at the DMA.

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Posts Tagged 'Dallas Museum of Art'

World AIDS Day

Give Thanks

Run the DMA Marathon

Steamboat Mayflower

Art is a Form of Truth

State of the Arts: Rising Talent—Three Artists/Three Questions

Museum Mustaches for Movember

Creating the DMA Conservation Studio

Rooms Within Rooms – Stephen Lapthisophon

What Hopper Saw

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