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Posts Tagged 'Dallas Museum of Art'

The Twelve DMA Days of Christmas

As Christmas approaches we wanted to share with you some works from our collection inspired by the song The Twelve Days of Christmas.

On the first day of Christmas my true love gave to me….Yucca and the Prickly Pear

William Lester, "Yucca and the Prickly Pear", 1941, Dallas Museum of Art, gift of A. H. Belo Corporation and The Dallas Morning News

On the second day of Christmas my true love gave to me…Love Birds

Ruth L. Guinzburg, "Love Birds", n.d., Dallas Museum of Art, gift of Mrs. Robert A. Beyers

On the third day of Christmas my true love gave to me a….Hen

Elwyn Lamar Watson, "Hen", c. 1930, Dallas Museum of Art, gift of Emma Downs Green

On the fourth day of Christmas my true love gave to me a…Bird-form finial

Zenu culture, "Bird-form finial", c. A.D. 500-1500, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, and Mr. and Mrs. John D. Murchison

On the fifth day of Christmas my true love gave to me…”The Golden Fleece” ring

Giovanni Corvaja, "'The Golden Fleece' ring", 2008, Dallas Museum of Art, gift of Deedie Rose

On the sixth day of Christmas my true love gave to me…Geese

Reveau Bassett, "Geese", 1915-1933, Dallas Museum of Art, gift of Olin H. Travis

On the seventh day of Christmas my true love gave to me a…Bridge at Pont-Aven, 1891

Emile Bernard, "Bridge at Pont-Aven, 1891", 1891, Dallas Museum of Art, gift of the Estate of Ina MacNaughton

On the eighth day of Christmas my true love gave to me…The Maids

Paula Rego, "The Maids", 1987, Dallas Museum of Art, gift of Mr. and Mrs. I. C. Deal

On the ninth day of Christmas my true love gave to me…Ballet Dancers on the Stage

Edgar Degas, "Ballet Dancers on the Stage", 1883, Dallas Museum of Art, gift of Mr. and Mrs. Franklin B. Bartholow

On the tenth day of Christmas my true love gave to me a…Portrait of Lord Lovat

William Hogarth, "Portrait of Lord Lovat", 1746, Dallas Museum of Art, Junior League Print Fund

On the eleventh day of Christmas my true love gave to me a…Young Man with a Flute

George Romney, "Young Man with a Flute", late 1760s, Dallas Museum of Art, bequest of Mrs. Sheridan Thompson

On the twelfth day of Christmas my true love gave to me…Drum Solos

Brad Tucker, Drum Solos, 2001, Dallas Museum of Art, Texas Artists Fund

Stacey Lizotte is the Head of Adult Programming and Multimedia Services at the Dallas Museum of Art.

Let it Snow, Let it Snow, Let it Snow

Published December 20, 2011 Community Connection , Museum Insight , Uncategorized , works of art 2 Comments
Tags: Childe Hassam, Dallas Museum of Art, Frederic Edwin Church, Georgia O’Keefe, Gustave Courbet, Let it Snow, Permanent Collection, winter

Wishing for a wintery holiday season filled with snowflakes and snowmen? Even though a snow-white holiday may be wishful thinking here in Dallas, you can still get in the holiday spirit at the Museum. Bring the whole family to enjoy the many winterscapes we have displayed in the galleries, and create your own holiday-inspired work in the Center for Creative Connections!

Wishing you all a very happy holiday,

Loryn Leonard
Coordinator of Museum Visits

Images used:

Frederic Edwin Church, The Icebergs, c. 1861, gift of Norma and Lamar Hunt
Ice Bowl and Spoon, Gorham Manufacturing Company, c.1871, The Eugene and Margaret McDermott Art Fund, Inc
Gustave Courbet, Fox in the Snow, c. 1860, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund
Georgia O’Keefe, Bare Tree Trunks in Snow, c. 1946, Dallas Art Association Purchase
Childe Hassam, Along the Seine, Winter, c. 1887, bequest of Joel T. Howard

Off the Wall: I Don’t Like the Color Grey

Published December 15, 2011 Center for Creative Connections Closed
Tags: Center for Creative Connections, Dallas Museum of Art, DFW Museum, Lee Bontecou

In our Center for Creative Connections we ask visitors to reflect on their responses to the spaces they encounter in art, as well as those they encounter in their everyday life.

For one work of art specifically, Lee Bontecou’s Untitled, we ask visitors to respond to one of three prompts:

To me, sharing space with this work of art feels like…
The words or pictures that come to mind when I look at this work of art are…
If this work of art was part of something larger, describe what it would be.

Untitled (35), Lee Bontecou, 1961, Dallas Museum of Art, Foundation for the Arts Collection, gift of an anonymous foundation

We have gotten a lot of great responses from visitors and want to share a few with you. Once a month we will have an “Off the Wall” post featuring three responses left by visitors.

Next time you are in the Center for Creative Connections add your contribution to the wall and maybe you will see it on Uncrated!

Teaching for Creativity: A Few Good Books

Published December 15, 2011 Teaching for Creativity 2 Comments
Tags: Arts and Letters Live, books, creative thinking, creativity, Dallas Museum of Art, Eric Fischl, Jerry Saltz, Jonah Lehrer, Simon Garfield, Thomas Thwaites

I am often inspired by a good read and I am an equal opportunity reader. I love both fiction and non-fiction books and find that both can ignite my creative capacities. Through fiction, I escape the day-to-day to walk in a character’s shoes and visit places unfamiliar, perhaps discovering an interesting metaphor that results in a richer understanding of the world around me. Encountering new perspectives from an expert in another field and reading about real-world stories and events are a few things I appreciate about non-fiction reading. These too can lead to richer understandings. Here’s a list of books on my radar presently (some in the mail as I write) for which I have high expectations of stirring my creative spirit. After you take a look at this list, then share with us what’s on your bookshelf or nightstand that is provoking you to think in new ways and see the world with fresh eyes?

Imagine: How Creativity Works by Jonah Lehrer

Imagine: How Creativity Works by Jonah Lehrer – This one comes out in March, 2012 and is the third book written by author Jonah Lehrer. Lehrer has a background in neuroscience and a strong interest in the relationships between art and science. In Imagine, he discusses new science about creativity and proposes that all of us can achieve increased creativity through effectively using a distinct set of thought processes. Lucky for me (and others), Lehrer will be in Dallas on March 23, 2012 presenting at the DMA’s Arts and Letters Live programming.

Sketchbook with Voices by Eric Fischl and Jerry Saltz

Sketchbook with Voices by Eric Fischl and Jerry Saltz – This collection of prompts from contemporary artists was compiled in 1986 by Fischl, an artist, and Saltz, an art critic. The book was reprinted this year and I discovered it recently as I ambled through a museum gift shop. Full of empty, ready-to-be-filled pages, this sketchbook includes inspirations from artists such as Richard Serra, Susan Rothenberg, and John Baldessari.

Mr. g by Alan Lightman

Mr. g by Alan Lightman – This is the forthcoming book from one of our department’s favorite authors! Remember the recent post about Einstein’s Dreams? We cannot wait for Lightman’s new book to come out in January, 2012. Lightman, like Lehrer, is a scientist intrigued by the blurred and crossing boundaries of art and science. However, Lightman explores these ideas through novels and in Mr. g, the story of creation is told, as narrated by God. Alan Lightman is also coming to Dallas next year! On May 20, 2012 Lightman will be the featured author for Arts & Letters Live.

The Toaster Project by Thomas Thwaites

The Toaster Project by Thomas Thwaites – This is a recent addition to my “books to read” list. I heard about it the other day on the radio and love the curious story behind the book. In pursuit of wanting to know more about where things come from, Thomas Thwaites decided to build a toaster from scratch….

Nicole Stutzman
Director of Teaching Programs and Partnerships

Community Connection: Accumulation Project

Published December 13, 2011 People , works of art 1 Comment
Tags: Accumulation Project, Annette Lawrence, Art, C3 visiting artist, Center for Creative Connections, Community Connection, Community Partner Response Installation, Cowboys Stadium, Dallas Museum of Art, UNT

What’s 2,490 feet long, made of paper, and on view at the DMA? Hint: visit the current Community Partner Response Installation titled Accumulation Project, by Annette Lawrence, Professor of Drawing and Painting at UNT. Over eleven months, visitors of all ages contributed to Accumulation Project during workshops led by Annette during her time as a C3 Visiting Artist. She also invited staff from various DMA departments to help with the installation in the days leading up to its unveiling.

Do you typically invite people to help you install your work?

In different contexts, I have students or volunteers or preparators or whoever works at the gallery, museum, etc. help with installation. I work more often with staff than with the public. For the DMA, part of the project was with the public, during workshops for people of all ages. Often, the adults were more interested in the idea of creating a long line of paper than the children were. Some kids got into it, depending on their personality. At the time of installation, we were in a time crunch and invited DMA staff to help, and I was really happy with the response. It was a pleasure working with everyone, and it seemed like it gave folks a break from their regular work. There was a great energy about pitching in. Once everyone was there, the installation was finished quickly.

The help of other people can cut the installation time in half. At the MFA Houston Glassell School of Art, l had one guy working with me consistently, and people coming in and out through the day to install Theory. That took us six days. Usually when someone starts working with me, they start to own the piece: they’re committed and want to see it finished. In this case, my helper wasn’t an artist; he was the maintenance guy, and he had time to help.

Theory, Annette Lawrence, 2003, installation at the Glassell School of Art, Houston, TX

What do you enjoy about teaching college students?

Mainly, I enjoy the process of discovering things with them. It depends on the level of class. In beginning classes, students are introduced to materials and are figuring out how to use them. After that, students pursue things that interest them, and I point them towards resources. I often find I am learning with them as they explore different processes. Lately, there has mostly been more interest in paint than anything else, but at times it veers off in other directions like installation work or sound. Photography has also been incorporated into work as well as lots of mixed media while students are finding their own way.

You spoke at the DMA earlier this year about your work at Cowboys Stadium. What was your initial reaction to the request for a commissioned work of art at the Stadium?

Lisa Brown of Dunn and Brown Contemporary loaded the conversation with artists who had already said yes – Mel Bochner, Laurence Weiner, Matthew Ritchie and Olafur Eliasson – she was kind of setting me up. I said “Oh well, OK I guess I’ll do it.” I studied Mel Bochner and Lawrence Weiner as an undergraduate student, and I was pretty excited about being in a collection that they were in. Meeting them in real life – in the context of a celebration for the Cowboys Stadium Art Program – I could not have imagined that.

It was an odd request; a contemporary art collection at a professional sports stadium had not been done before. I wasn’t opposed. I was excited and interested in seeing the work happen, but it is a little bit ironic considering my interest in sports (or lack thereof) that the one permanent installation of my work is in a football stadium.

I designed the piece based on the space I was given, one of the main entryways. In the interest of relating the piece to football, I looked up a glossary of football terms on Google. As soon as I saw the words “Coin Toss”, I knew it was the right title. It just fit, beyond the shape of the piece – a circle moving in space – but it also goes with the start of game, and the artwork’s placement in the entryway. The Jones’s response to the title was so positive, and it was part of the enthusiasm for the work.

Coin Toss, Annette Lawrence, 2009, Cowboys Stadium, Arlington TX

Apart from creating things, what do you do?

Look at other people’s creations, mostly. Looking at art, films, theater, dance, music, and all the arts take up most of my time. Visiting friends and family is high priority, where we often talk about art. If it’s with friends, we generally have art conversations. With family, it can be anything.

What is your favorite holiday tradition?

Just visiting and being with good friends and family. I’m not interested in Christmas hype, but I like how things slow down a little bit and everyone is observing that this is time to spend with people you care about. I alternate between doing Christmas or not doing Christmas. This is a not year – we’re just not really doing it. We’ll probably send out greetings to friends and families around New Year’s – after Christmas. Last year, we sent a fun video, so we’re thinking about what we will do this year. Whatever we send will be homemade.

Installing at Cowboys Stadium

Accumulation Project is on view in the Center for Creative Connections through May 2012.

Melissa Nelson
Manager of Teaching in the Community

The McDermott Intern Class of 2011–2012

Published December 12, 2011 Curatorial , Education , Staff Closed
Tags: Dallas Museum of Art, fellow interns, Interns, internship, McDermott Internship program

Left to right: Jessica Kennedy, Vivian Barclay, Hannah Burney, Wendy Earle, Lexie Ettinger, Melissa Barry, Andrew Sears and Mary Jordan

Each year, the Dallas Museum of Art welcomes a new class of McDermott interns into the family. Throughout the history of the program our interns have been outstanding, intelligent students with interests spanning the full range of art-related interests. This year’s group is no exception. Of the eight interns, five hold master’s degrees while the other three have earned their BA and plan to pursue advanced degrees. Their interests range from Medieval and Contemporary Art to Art Education and Museum Programming. As you will learn, their talents and interests extend beyond Art and Art History!

Vivian Barclay is the Graduate Curatorial Intern for Decorative Arts and Design. She holds a B.A. in Art and Performance for University of Texas at Dallas and a M.A in Art History from Texas Christian University. Vivian was born and raised in Valencia,Venezuela.

Melissa Barry is the Graduate Curatorial Intern for Contemporary Art. She received her B.A. in Art History and Business Administration from Baylor University and her M.A in Art History from Texas Christian University. She can also sign to R. Kelly’s I Believe I Can Fly.

Wendy Earle is the Graduate Curatorial Intern for the Arts of the Americas and the Pacific. She earned her B.A in Art History from the University of Michigan and her M.A. in Art History from the University of Texas. She has piloted a plane.

Andrew Sears is the Curatorial Intern for European and American Art. He graduated from Emory University with a B.A in Art History. He has never been to a zoo–a fact his fellow interns plan to help him remedy this year.

Hannah Burney is a Teaching Programs intern. She will work primarily with Go van Gogh and other outreach programs. She spent part of her childhood in South Korea.

Lexie Ettinger is the Education Intern for Adult Programming. She majored in Art History, and minored in Political Science at the University of Arizona. Currently she is pursuing her M.A at the University of North Texas. Her family dogs’ names are Cinnamon and Sugar, and Sugar has her own Face book page.

Mary Jordan is the Education Intern for Family Experiences. She holds a B.A from Indiana University and a M.A from Johns Hopkins in Medical and Biological Illustration and is currently pursuing a Master’s Degree in Art Museum Education at the University of North Texas. In her “first” career as a medial illustrator, she often sketched in the operating room, directly from surgery. One of the most interesting was a cardiac bypass surgery.

Jessica Kennedy interns in the DMA’s Teaching Programs assisting with docents and gallery programs. She holds a M.A in History with a concentration in Museum Studies and a B.A. in Art History form the University of Missouri in St. Louis. The first name of each member of her immediate family starts with the letter J. Therefore she will answer to any “J” name.

The next time you are in the museum don’t be surprised if you find one of them leading a gallery talk, helping with Late Nights or instructing your child in the Center for Creative Connections. Also, in the coming months, check Uncrated to read their contributions to this blog.

The Dallas Museum of Art offers nine-month paid internship positions in the Education and Curatorial Divisions. These internships are intended for those individuals who wish to explore a career in museum work. For more information, or to apply for the 2012-2013 McDermott Internship program, visit our website. Applications will be available in January 2012.

Martha MacLeod is Curatorial Administrative Assistant for European and American Art and manages the McDermott Interns

The Dancing Pants

Published December 6, 2011 works of art 3 Comments
Tags: Art, Arts and Letters Live, collections, Contemporary Art, Dallas Museum of Art, Go van Gogh, interdisciplinary, literary connection

I recently became really inspired by one of my favorite Go van Gogh programs in which we discuss an abstract painting that we have paired with a Shel Silverstein poem. I really loved the new associations and meanings this juxtaposition brought to light. I decided to find more connections between Silverstein and the collection. Below you will find the original pairing that inspired me, followed by my own couplings.

The Dancing Pants

And now for the Dancing Pants,
Doing their fabulous dance.
From the seat to the pleat
They will bounce to the beat,
With no legs inside them
And no feet beneath.
They’ll whirl, and twirl, and jiggle and prance,
So just start the music
And give them a chance –
Let’s have a big hand for the wonderful, marvelous,
Super sensational, utterly fabulous,
Talented Dancing Pants!

: The Reveler

Where the Sidewalk Ends

There is a place where the sidewalk ends,
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.

: Clouds (Wolken)

Hug O’War

I will not play at tug o’ war
I’d rather play at hug o’ war,
Where everyone hugs
Instead of tugs
Where everyone giggles
And rolls on the rug,
Where everyone kisses
And everyone grins
And everyone cuddles
And everyone wins.

The Divers

My Guitar

Oh, wouldn’t it be a most wondrous thing
To have a guitar that could play and could sing
By itself – what an absolute joy it would be
To have a guitar…that didn’t need me.

The Guitarist

The Deadly Eye

It’s the deadly eye
Of Poogley-Pie.
Look away, look away,
As you walk by,
‘Cause whoever looks right at it
Surely will die
It’s a good thing you didn’t…
You did? …
Good-bye.

Black-figure kylix

Space
And last but certainly not least, a very special quote from Shel Silverstein…

Draw a crazy picture,
Write a nutty poem,
Sing a mumble-gumble song,
Whistle through your comb.
Do a loony-goony dance
‘Cross the kitchen floor,
Put something silly in the world
That ain’t been there before.

Legal Pad Sheet

Space
These are some of the artworks I associate with Shel Silverstein’s poems. What comes to mind when you read them? Are there other artworks that they could be paired with?

Want to explore more literary connections to art? Check out Arts and Letters Live. See what this year has in store for music, film, and performance at the DMA when the 2012 season is announced on December 8th. Programs fun for all ages!

SPACE

Hope you enjoy,

Hannah Burney

McDermott Intern for Teaching Programs and Partnerships

space

Images used:

The Reveler, Jean Dubuffet, 1964, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. James H. Clark

Clouds (Wolken), Sigmar Polke, 1989, mixed media on canvas, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and two anonymous donors

The Divers, Fernand Leger, 1942, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation

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

Legal Pad Sheet, Alex Hay, 1967, spray lacquer and stencil on linen, Dallas Museum of Art, Ruth and Clarence Roy Fund and DMA/amfAR Benefit Auction Fund

Black-figure kylix, Greek; Attic, last quarter 6th century B.C., ceramic, Dallas Museum of Art, gift of Mr. and Mrs. Cecil H. Green

Seldom Scene: Hodges, Albers, and Lawrence. Oh My!

Published December 5, 2011 Center for Creative Connections , Exhibitions 2 Comments
Tags: Annette Lawrence, Center for Creative Connections, Dallas Museum of Art, DFW Museums, Jim Hodges, Josef Albers

You may have noticed something shiny and new in the entrance to the Center for Creative Connections (C3). In November, the C3’s Encountering Space exhibition experienced a few art rotations, including the installation of Jim Hodges’ Great Event, three works by Josef Albers, and Annette Lawrence’s Accumulation Project. See the new works, and the new film in the C3 Theater by Frank & Kristin Lee Dufour, for free tomorrow during First Tuesday, when general admission is free from 11:00 a.m. until 5:00 p.m.

Sail On: A New Interpretation of an Ancient Peruvian Object

Published December 1, 2011 Behind-the-Scenes , Collections 2 Comments
Tags: Dallas Museum of Art, Ica culture, Peru, Peruvian art

This wooden object, which has been at the DMA since 1975, was misinterpreted as a “ceremonial digging board.” Walking through the galleries of Peruvian art, I was struck by the large size and stark, seemingly utilitarian design of this object and was encouraged to research it.

Ceremonial digging board, Peru, Ica Valley, Ica, 1476–1532, wood and paint, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1975.24.McD

The figures are beautifully painted and remarkably well preserved. At the very top stand nine small, enigmatic figures. Underneath those are four rows of geometric designs, while six small water birds line the side. But other than the carvings at the top, it is a plain board. Because most “art objects” of the Americas are often practical as well, I wondered what functions this could have had. Investigations into similar objects of this type yielded an interesting new interpretation. We now know that it is a steering centerboard, and represents a fascinating and extremely useful sailing tradition.

From Lothrop, Aboriginal Navigation off the West Coast of South America. Journal of Royal Anthropological Institute Volume LXII, 1932.

Boards with the exact same shape and similar carving have been found in graves of the very rich on the south coast of Peru. The associated grave goods and the fine quality of these carvings (some were even found covered with gold foil!), indicate that these were high status objects.

The Ica
These boards were associated with the Ica culture of Peru, who preceded the Inca Empire and were located in the very dry desert on the south coast. The Ica culture flourished from about 1100-1300, before being taken over by the Inca Empire.

From Benzoni, History of the New World, 1546.

How Was It Used?
When archaeologists started finding these wooden boards in the early 1900s, they classified them as ceremonial agricultural implements or ceremonial digging sticks. Through the research of anthropologists, we now know that this type of object had a very different function.

This object is a centerboard used for navigating large balsa wood rafts on the Pacific Ocean. Though not exactly a rudder, it functions in a similar way, steering the craft. Through the interplay of sails and the movements of several of these centerboards, balsa wood rafts carrying up to twenty tons of cargo and as many as fifty people could travel all along the coast of Peru and Ecuador. We have some evidence that they traveled as far as the Pacific Islands, a distance of over four thousand miles!

From Juan and Ulloa, A Voyage to South America, 1748.

How Do We Know?
Anthropologists in the 1940s were interested in the maritime techniques and capabilities of the ancient Peruvians. Most objects associated with sailing did not survive, since they were made of perishable materials like wood and cotton. The wooden paddles and centerboards (like ours) do survive, because they were purposefully buried in the graves of high-status people. The dry desert conditions on the south coast of Peru allowed them to remain intact, and archaeologists started finding them in the early 20th century.

One important scholar, Thor Heyerdahl, spent years researching Peruvian navigation and sailing. He actually built a balsa log raft modeled on ancient vessels, and named it Kon-Tiki. Heyerdahl and five companions tested the sea-worthiness of their vessel and several of their other theories on trans-Pacific contact between native peoples. They sailed for 101 days over 4,300 miles across the Pacific Ocean, ending August 7, 1947. A documentary called Kon-Tiki detailing their voyage—with all its challenges and successes—was made in 1950. It went on to win the Academy Award for Best Documentary in 1951 and is being remade in Norway to be released in 2012.

You can watch the movie online here: http://www.youtube.com/watch?v=gGooopCTmpg

Many Uses
Some of the rafts seen by the earliest Europeans off the Andean coast carried merchants and tons of cargo on board. Others were used for army transportation and the conquest and control of warlike islanders off the empire coast. Still others were used by fishermen who went on extensive expeditions. The Spaniards even recorded Inca memories of individual merchant rafts and large, organized raft flotillas that set out on exploring expeditions to remote islands.

Diagram of a large Balsa-Log Raft. From Lothrop, Aboriginal Navigation off the West Coast of South America. Journal of Royal Anthropological Institute Volume LXII, 1932.

Raftsmen in north Peru were great mariners who played fatal tricks on Spaniards who voyaged as passengers on their balsa rafts. The natives simply detached the ropes holding the log raft together, and the Spaniards fell through and drowned while the sailors survived because they were outstanding swimmers. Other early chroniclers state that even before the arrival of the Spaniards the coastal Peruvians, who “swam as well as fishes,” lured the highland Incas into the open ocean on balsa rafts, only to undo the lashings of the logs and drown their less sea-minded passengers.

Wendy Earle is the McDermott Graduate Curatorial Intern for Arts of the Americas and the Pacific.

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Dallas Museum of Art Uncrated

Posts Tagged 'Dallas Museum of Art'

The Twelve DMA Days of Christmas

Let it Snow, Let it Snow, Let it Snow

Off the Wall: I Don’t Like the Color Grey

Teaching for Creativity: A Few Good Books

Community Connection: Accumulation Project

The McDermott Intern Class of 2011–2012

The Dancing Pants

Seldom Scene: Hodges, Albers, and Lawrence. Oh My!

Sail On: A New Interpretation of an Ancient Peruvian Object

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