Posts Tagged 'DMA Members'

More than Meets the Eye

In just over a week the DMA will host the acclaimed exhibition Laura Owens which is organized by the Whitney Museum of American Art in New York. The exhibition explores the career and whimsical world created by contemporary artist Laura Owens. Prior to the arrival of the exhibition, the DMA Member magazine Artifacts was able to talk with Amy Baumann, Owens’ Studio Manager, about the process of creating the unique and exceptionally beautiful exhibition catalogs:

This spring, visitors will encounter paintings on a monumental scale in the mid-career survey of American painter Laura Owens. Owens is also known for her work on a much more intimate scale, as a book artist. Her Los Angeles art space and studio even hosts Ooga Booga, an independent art bookseller. She shares this love of books through her gorgeously crafted catalogue, a deep dive into her life and career, containing memorabilia from her artistic formation and essays from experts in diverse cultural fields.

What is most surprising is that every catalogue contains a unique cover, screen printed by hand in the artist’s studio—a mammoth undertaking that involved a crew of five studio assistants working for over three months.

I talked with Amy Baumann, Owens’ Studio Manager, about the process of fabricating over 8,500 unique books, each one functioning as a work of art that visitors can take home with them.

Anna Katherine Brodbeck:
Can you speak about the genesis of this ambitious project?

Amy Baumann: Screen printing has been a big part of Laura’s work in the last five years. When she first approached us with the idea for the covers, we said, “Great! How do you want to do this?” This resulted in the book covers being created by the build-up of layers upon layers of images, much like her paintings.

AKB: What is the source material for the diverse imagery?

AB: Laura started by selecting patterns used in her paintings, such as a bitmap made from a scan of crumpled paper and vintage wallpaper overlays. She also chose some basic shapes that we printed as vectors, and more complex images that we printed using CMYK process. We made a chart listing the various elements to make sure we maxed out the possible combinations. They had to be random and not repeat. We came up with a system to put all the covers in production simultaneously, organizing them in piles at various stages of production. Laura wanted the print crew to choose the layers and how they were used in order to promote more randomness, but she would change the way the layers were used during the process, sometimes requesting a different scale or image, or shifting the color palette.

Anna Katherine Brodbeck is The Nancy and Tim Hanley Assistant Curator of Contemporary Art at the DMA.

Freeze Frame

It’s hard to believe, but we’re in the final week of the celebrated exhibition Irving Penn: Beyond Beauty. Prior to the show’s opening in April of this year, Allison V. Smith, photographer and granddaughter of Stanley Marcus, shared with the DMA Member magazine, Artifacts, her first encounter with the work of Irving Penn and the impact of his legacy.  Read about her experience below, and discover the work of Irving Penn for the first time or for the hundredth time through Sunday with buy one get on free exhibition tickets offered every day.

One of the Real Greats
By Allison V. Smith
Original publish date: Artifacts Spring–Summer 2016

Irving Penn’s name is synonymous with beauty in fashion photography. So it’s no surprise that in 1990 my grandfather Stanley Marcus gave me, a young, passionate photographer, a signed copy of Issey Miyake’s catalogue photographed by Irving Penn. An enclosed handwritten Post-it note read:
Screen Shot 2016-08-01 at 11.05.25 AM
“Dear Allie— Penn, in my opinion, is the greatest of the fashion photographers and perhaps one of the real greats of the 20th century. Are you friends with him?”

I wasn’t, but I quickly took the time to educate myself.

Penn’s prolific photographic career spanned seventy years, and in this time he managed to merge the lines between fashion and fine art. His first cover for Vogue magazine was published in 1943, and he would shoot at least 150 more.

Irving Penn, Salvador Dali, New York, 1947, gelatin silver print, Smithsonian American Art Museum, Gift of the artist. Copyright © The Irving Penn Foundation

Irving Penn, Salvador Dali, New York, 1947, gelatin silver print, Smithsonian American Art Museum, Gift of the artist, © The Irving Penn Foundation

Penn’s assignments ranged from shooting striking models in designer dresses on location in Paris, to contemporary still lifes of familiar objects, to the simple “corner portraits” of artists that included Salvador Dalí and Truman Capote. These portraits were made sometime in 1948 in a constructed corner in his studio. The sitter embraced the corner, demonstrating his or her own personality and making the static background Penn chose into a private stage. Dalí fills the frame in a confident pose, with both arms placed firmly on his knees. Capote kneels on a chair, wearing an oversized tweed jacket and looking directly at the photographer. It’s hard to tell whether he’s feeling vulnerable or safe.

Irving Penn, Truman Capote, New York, 1979, printed 1983, silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation

Irving Penn, Truman Capote, New York, 1979, printed 1983, silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation, © The Irving Penn Foundation

Penn wrote in Passage: A Work Record about this process: “This confinement, surprisingly, seemed to comfort people, soothing them. The walls were a surface to lean on or push against. For me the picture possibilities were interesting; limiting the subjects’ movement seemed to relieve me of part of the problem of holding on to them.”

Working for Vogue, Penn had the dream job of traveling the world photographing portraits of everyday people—artisans and blue-collar workers in Paris and London, a gypsy community in Spain, and the tribes of New Guinea. Penn approached all of his portraits with the same respect and elegance as he did in posing a model in Paris or an Issey Miyake design.

Irving Penn, Issey Miyake Fashion: White and Black, New York, 1990, printed 1992, gelatin silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation

Irving Penn, Issey Miyake Fashion: White and Black, New York, 1990, printed 1992, gelatin silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation, © The Irving Penn Foundation

Penn’s photographs are subtle and sophisticated, often finding his subjects against a blank backdrop. His meticulous flowers are a study of visual rhythm. His nudes, whom he shot on countless rolls of film on his Rolleiflex camera between 1949 and 1950, went largely unseen until 1980. He closely examined the shapes of models of all sizes. The results were about form and less about nakedness.

A prolific photographer and a technical master, he made personal work throughout his life, including his early photographs of shop window displays, and later cigarette butts, smashed cups, and chewing gum. These simple photos of litter experimented with different photographic processes, such as platinum and palladium, giving them a rich quality—and also leaving an indelible mark on me.

Allison V. Smith is an editorial and fine art photographer based in Dallas. In 2008, the DMA presented “Reflection of a Man: The Photography of Stanley Marcus,” a retrospective of photographs taken by the department store magnate and produced by Smith and her mother, Jerrie Smith.

 

Black Tie Optional, Style Mandatory

Folly at the Art Ball, our new annual fundraiser hosted by the DMA Junior Associates to benefit the Dallas Museum of Art, will launch this weekend as the After Party of the Museum’s annual gala. And we’re giving a special offer to our Uncrated readers to join in on the fun (see below). The attire “black tie optional” might sound intimidating, but it’s really about what makes you feel your best!

Inspired by fashion bloggers and chic instagrammers, we asked a few DMA Juniors to give us a sneak peek at their ensembles for the best night of the year:

Abigail Baber Rust, DMA Member since 2008
Abigail Baber Rust, DMA Member since 2008
Jennifer Anthony, DMA Member since 2015
Jennifer Anthony, DMA Members since 2015
Julia Anthony, DMA Member since 2015
Julia Anthony, DMA Member since 2015
Vodi Cook, DMA Member since 2015 wearing Custom Couture designed by fellow DMA supporter MacKenzie Brittingham
Vodi Cook, DMA Member since 2015 wearing Custom Couture designed by fellow DMA supporter, MacKenzie Brittingham.

When trying to decide what to wear, remember to ask yourself, “Would I look great driving away in a Jaguar in this outfit?” The evening includes a chance to win a brand-new 2017 Jaguar F-Pace Prestige. No matter what, make sure you are ready to dance to the tunes of DJ Lucy Wrubel and the Georgia Bridgwater Orchestra!

Since you are loyal Uncrated readers, we’d love to treat you to 25% off entry tickets to Folly at the Art Ball. Use the discount code UNCRATEDSTYLE when you purchase yours before Saturday, April 23, at noon! Tickets will be sold at the door for an increased price of $250.

Rebekah Boyer is the Assistant Manager of DMA Member Groups at the DMA.


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