Posts Tagged 'DMA'

Connections Across Collections: Art and Nature

We’re celebrating Earth Month with art from across our collections that connects to the natural world. Read below to find out about the artworks and objects our curators selected.

Sue Canterbury, The Pauline Gill Sullivan Curator of American Art
In this landscape painted near Waxahachie, Florence McClung emphasizes the rounded forms of the earth, juxtaposing them against the vertical shocks of wheat. She investigates the geometry of the cultivated fields while also emphasizing the richness and bounty of nature.

Florence E. McClung, Squaw Creek Valley, 1937, oil on canvas, Dallas Museum of Art, gift of Florence E. McClung, 1985.12

Dr. Michelle Rich, The Ellen and Harry S. Parker III Assistant Curator of Arts of the Americas
This Olmec tablet portrays the cosmos arranged in three dimensions. Three dots signify the place of creation and anchor a stepped mountain-pyramid to the earthly realm. Above this, a World Tree reaches to a scaffold structure marked by “crossed bands” associated with the sky.

Tablet with incised symbols, 900–500 BCE, Olmec peoples, greenstone and red pigment, Dallas Museum of Art, Dallas Art Association purchase, 1968.33
Drawings courtesy of Dr. F. Kent Reilly, Texas State University.

Sarah Schleuning, Interim Chief Curator and The Margot B. Perot Senior Curator of Decorative Arts and Design
Faye Toogood explores pure geometric form by using cobb, a material consisting of clay, sand, straw, water, and earth as her media. By focusing on design and material expressiveness rather than functionality, this work pushes into the realm of pure sculpture.

Faye Toogood, Cup/Earth, 2016, cobb composite (acrylic polymer and natural materials), Dallas Museum of Art, Discretionary Decorative Arts Fund, 2018.34.2

Panamanian Molas: Made For and By Women

This past December, the Kaleta A. Doolin Foundation donated the Reverend Isaac V. and Alicia C. Pérez Mola Collection to the DMA. The collection is composed of some 70 molas: hand-stitched textiles that form part of Guna women’s clothing in the Republic of Panama. The Guna occupy a territory called the Gunayala Comarca (Gunaland Province), formed by hundreds of tiny islands, as well as by the adjacent coastline. This attire was adapted from the ancient practice of women painting their bodies with complex geometric designs, later translated to textiles following the adoption of new fabrics and tools introduced by European settlers. Over the decades, molas have become the single most recognizable material element of Guna cultural identity.

Molas: Two aquatic birds (T44205.43); Terrestrial birds, fish, and mammal (T44205.46); Aquatic bird and fish with spiny dorsal fin (T44205.15), Guna people, Gunayala Comarca, Panama, mid-20th century, cotton, Dallas Museum of Art, The Isaac V. and Alicia C. Pérez Mola Collection, gift of The Kaleta A. Doolin Foundation; Man and woman wearing hats, mid-twentieth century, Guna people, Gunayala Comarca, Panama, cotton, Dallas Museum of Art, gift of The Dozier Foundation, DS.1990.303

The arts in Guna society are strictly gendered, with men engaged in basket weaving and public oratory, reciting poems and stories. Women, including men who identify as women, design and fabricate molas. The molas are created using a complex reverse appliqué process. Two or three pieces of fabric are first basted together and then a design is hand cut into the top layer, with multiple layers of colorful, contrasting fabrics and appliques then sewn between the top and bottom layers. This elaborate technique is intensive, typically taking a maker three to five weeks to complete the 15 by 17-inch textile.

Care is taken to match the thread to the cloth and layer the fabrics in a way that gives the impression of a seamless and uniform composition. Mola designs incorporate elements such as flowers, birds, animals, and mythical creatures, but geometric patterning remains a crucial element.

The mola has deep ties to Guna identity. In 1918 the Panamanian government began a campaign to subjugate and assimilate the Guna, which included banning traditional dress. The Guna resisted, and making and wearing molas became an act of political protest. In 1925 the two parties reached an agreement granting the Guna autonomy to govern their own affairs and sovereignty over their Indigenous identity and culture. To this day, Guna women still produce beautifully executed molas for their own use in clothing, as well as versions for tourist consumption.

Blouse incorporating National Liberal Party mola, Guna people, Gunayala Comarca, Panama, 1962, cotton, Dallas Museum of Art, gift of Carolyn Williams Marks, Harriet Williams Peavy, and Suzanne Williams Nash, 2016.68.19

Reverend Isaac V. Pérez, his wife, Alicia, and their daughter, Elva, moved to Panama in 1953 when Reverend Isaac accepted employment with a denomination-affiliated organization. Among his responsibilities was working with local Guna to create a new church. On one of his first visits to the islands, he was gifted a mola as a gesture of friendship. Alicia and Elva were fascinated by the complex and unusual qualities of the design, heightened by its vibrant colors.

Mola: Ground cuckoo, Guna people, Gunayala Comarca, Panama, mid-20th century, cotton, Dallas Museum of Art, The Isaac V. and Alicia C. Pérez Mola Collection, gift of The Kaleta A. Doolin Foundation, T44205.25

The Pérezes remained in Panama for 22 years and amassed a stunning collection of molas. The family treasured them for their creativity, design, and imagery—but even more so as a reminder of the graciousness of the Guna people. Their collection joins 10 molas already stewarded by the DMA, and together they offer a testament to the creativity and resilience of the Guna people, and the critical role of women in preserving and adapting Guna culture.

Mola: Two terrestrial birds perched in trees, Guna people, Gunayala Comarca, Panama, mid-20th century, cotton, Dallas Museum of Art, The Isaac V. and Alicia C. Pérez Mola Collection, gift of The Kaleta A. Doolin Foundation, T44205.16

Dr. Mark A. Castro, The Jorge Baldor Curator of Latin American Art
Dr. Michelle Rich, The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas
Alyssa Wood, Curatorial Assistant

Gertrude Stein and Juan Gris: A Close Connection

Photograph of Gertrude Stein in her salon, writing, 1920, Gertrude Stein and Alice B. Toklas Papers. American Literature Collection, Beinecke Rare Book and Manuscript Library, Yale University

This is the history of Juan Gris.
—Gertrude Stein[1]

After the Salon des Indépendants in 1920, Juan Gris wrote a letter to Gertrude Stein, putting an end to more than half a decade of silence between them:

I am greatly flattered by what you say about my contribution at the Indépendants, more especially as you have a great understanding of painting.[2]

Stein was an American novelist, born in 1874 into an affluent upper-middle-class Jewish family. She studied psychology and medicine before moving to Paris in 1904. There she became one of the foremost connoisseurs of modern art and an early champion of Cubism. She was especially close to Picasso, and it is likely that she met Gris sometime in 1910 through their mutual friend; however, she did not start collecting Gris’s work until 1914, when she bought the first painting from the artist’s gallerist, Daniel-Henry Kahnweiler.

Gertrude Stein was particularly interested in papier collé works by Gris.
Image: Juan Gris, The Lamp, 1914, pasted paper, gouache, and conté crayon on canvas, Private collection

Gris and Stein seem to have been on friendly terms up until World War I. She always tried to support her artists while at the same time adding works to her impressive collection. When the war broke out in August 1914, and Gris’s German gallerist had to leave France, the artist found himself without income. Upon Picasso’s appeal, Stein tried to help Gris out by setting up an opportunity for him to exhibit in New York in the gallery of Michael Brenner. Additionally, she and Brenner offered monetary support in exchange for works. Kahnweiler, who thought the war would be a short affair, prohibited this deal and Gris had to decline the offer. Stein broke off contact with the artist until her visit to the Salon in 1920.

Their friendship resumed, grew stronger, and became more intimate. Gris valued Stein’s feedback, and he trusted her taste in and opinions on art. They visited each other frequently and were known to engage in deep and intellectual conversations. She appreciated the artist especially for the exactitude of his Cubism and his intricate compositions. When Gris’s sales and self-esteem were low, Stein tirelessly promoted his work by sending journalists to his studio, publishing texts about him, and collecting his works. In 1926 they collaborated on a project, with Gris contributing four lithographs to Stein’s publication A Book Concluding with as a Wife Has a Cow: A Love Story.

A sign of their close relationship, she was the only one to call him “Juan,” emphasizing his Spanish heritage, while he referred to himself as “Jean,” being enamored with everything French.

Most of Gris’s works in Stein’s collection are from the 1920s.
Image: Juan Gris, The Electric Lamp, 1925, oil on canvas, Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle. Gift of Louise and Michel Leiris, 1984. On deposit at Musée d’art moderne et contemporain de la Ville de Strasbourg since 1999

When Gris died in May 1927, Stein was heartbroken. Two months later, she published a personal epitaph in the magazine Transition. In her Autobiography of Alice B. Toklas, Stein would later acknowledge Gris’s importance to Cubism by elevating him to the same level as Picasso, where in her eyes he belonged:

[T]he only real cubism is that of Picasso and Juan Gris. Picasso created it and Juan Gris permeated it with his clarity and exaltation.[3]

Christine Burger is the Research Assistant for European Art at the DMA.


[1] Gertrude Stein, The Life of Juan Gris: The Life and Death of Juan Gris, in: In Transition: A Paris Anthology: Writing and Art from Transition Magazine 1927-30. New York, 1990,195.
[2] Gris to Stein, February 2, 1920, letter XCI, in Douglas Cooper, trans. and ed., Letters of Juan Gris [1913-1927]. Collected by Daniel-Henry Kahnweiler, London, 1956, 76.
[3] Gertrude Stein, The Autobiography of Alice B. Toklas, New York, 2020, 110.

Celebrating Henry Ossawa Tanner

Henry Ossawa Tanner in 1907 by Frederick Gutekunst (1831–1917)

This month the DMA celebrates the acclaimed African American artist Henry Ossawa Tanner (1859–1937). Tanner’s intimate painting Christ and His Mother Studying the Scriptures is one of the cornerstones of our American collection. He rendered the lush, densely painted surface using a restricted palette predominated by shades of cool, luminous blue. The color became so synonymous with him that it earned the nickname “Tanner-blue.”

Henry Ossawa Tanner, Christ and His Mother Studying the Scriptures, 1908, oil on canvas, Dallas Museum of Art, Deaccession Funds, 1986.9

The artist’s wife, Jessie Olssen, an American opera singer living in Paris when they met, and their young son, Jesse, often served as his models. Two existing photographs (figs. 1 & 2) confirm they posed for him as he considered different arrangements for the DMA’s painting, and one (fig. 1) was the template. That they posed for this painting makes it simultaneously a meditative religious scene and a tender family portrait.

Fig. 1: Jessie Olssen Tanner and Jesse Ossawa Tanner posing for Henry Ossawa Tanner’s painting Christ and His Mother Studying the Scriptures, not after 1910. Henry Ossawa Tanner papers, 1860s–1978. Archives of American Art, Smithsonian Institution. Digital ID: 12359, public domain
Fig. 2: Jessie Olssen Tanner and Jesse Ossawa Tanner posing for Henry Ossawa Tanner’s painting Christ and His Mother Studying the Scriptures, not after 1910. Henry Ossawa Tanner papers, 1860s–1978. Archives of American Art, Smithsonian Institution. Digital ID: 12360, public domain

Tanner seems to have been so enamored with the composition that three years later he rendered a similar version, Christ Learning to Read. He made slight changes to the poses of Christ and Mary and experimented with an impressionistic application of a high-keyed pastel color palette to render light. Further, the painting’s structural frame and inner arcing spandrel reflect the influence of buildings he most likely saw during his many trips to Morocco.

Henry Ossawa Tanner, Christ Learning to Read, about 1911, oil on canvas, Des Moines Art Center Permanent Collections; Gift of the Des Moines Association of Fine Arts, 1941.16, photo credit: Rich Sanders, Des Moines

Tanner’s decision to be a religious painter was deeply rooted in his family background. His father, Benjamin Tucker Tanner (1835–1923), was a bishop in the African Methodist Episcopal Church, and the artist’s childhood home was a well-known salon of Black culture in Philadelphia. Nevertheless, it is not surprising that his path to a successful career was filled with many obstacles. While he found studying at the Pennsylvania Academy of Fine Arts with Thomas Eakins intellectually fulfilling, the extreme racism he experienced from classmates was intolerable. Acknowledging that he “could not fight prejudice and paint at the same time,” Tanner left Philadelphia, briefly set up a photography studio in Georgia, and eventually lived out his life in Paris as an American expatriate. The city was culturally, socially, and artistically welcoming, while also providing him with the freedom and camaraderie unavailable to him in his segregated homeland. In Paris, the shy, serious-minded artist flourished and prospered. After a trip to Palestine, Tanner turned his focus toward painting biblical scenes and rarely strayed from this theme for the rest of his life.

Both the Dallas and Des Moines paintings, along with the two photographs discussed here, are emblematic of Tanner’s devotion to his faith and career, and all of them serve as affectionate double portraits in tribute to his wife and son. The Dallas Museum of Art is proud to display Christ and His Mother Studying the Scriptures, which is a masterpiece by this admired and accomplished American artist, in our galleries. We are always honored to celebrate Tanner’s life, legacy, and contribution to the canon of American art, and we are most especially pleased to do so during Black History Month.

Martha MacLeod is the Senior Curatorial Administrator and Curatorial Assistant for Decorative Arts and Design, Latin American Art, and American Art at the DMA.

From the Page to the Painting: Literary Connections

Glenn Ligon, Untitled, 2002, coal dust, printing ink, oil stick, glue, acrylic paint, and gesso on canvas, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2004.29, © 2002 Glenn Ligon

This work features the opening lines of James Baldwin’s 1953 essay “A Stranger in the Village.” The story traces Baldwin’s time in a Swiss village where the majority of residents had never encountered a person of African descent. 

As a fellow gay Black man, Glenn Ligon incorporated Baldwin’s words in hundreds of his works. (Learn more about the artist’s interpretation of this essay and his choice of materials here.)

Glittering coal dust glued to a black surface makes the words nearly impossible to decipher. Similarly, the author and artist share their experiences of being seen but not understood.

Gordon Parks, Emerging Man, Harlem, 1952, gelatin silver print, Dallas Museum of Art, anonymous gift via Charles Wylie to honor Catherine and Will Rose, 2007.62.2, © Estate of Gordon Parks

As a staff photographer for Life magazine, Gordon Parks created the photo-essay “A Man Becomes Invisible” in conjunction with the publication of Ralph Ellison’s novel Invisible Man. Parks and Ellison were friends and shared an interest in raising the visibility of Black lives in postwar United States.

Ellison’s unnamed, Black protagonist lives in an underground room. He is protected from a racist society only by remaining invisible—hidden below ground.

Parks imagines Ellison’s protagonist warily emerging from his subterranean sanctuary, an event only hinted at in the book’s epilogue.

Lorna Simpson, Blue Turned Temporal, 2019, ink, watercolor, and screenprint on gessoed fiberglass, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020.16, © Lorna Simpson. Courtesy the artist and Hauser & Wirth. Photo: James Wang

This work was first shown in “Darkening,” a 2019 exhibition at Hauser & Wirth gallery in New York City. The exhibition opened with an excerpt from Robin Coste Lewis’s poem “Using Black to Paint Light: Walking Through a Matisse Exhibit, Thinking About the Arctic and Matthew Henson.”

The poem points to one of the many layers of meaning behind Lorna Simpson’s choice of subject. Matthew Henson was an African American explorer who made seven trips to the Arctic between 1891 and 1912.

The brilliant color of Blue Turned Temporal resonates with lines from Lewis’s poem that note the absence of white and whiteness in the frozen northern environment. “The unanticipated shock: so much believed to be white is actually—strikingly—blue.” (Read Lewis’s full poem.)

Emily Schiller is the Head of Interpretation at the DMA.

Thurmond Townsend: A Dallas Artist to Know

In early 1938, 26-year-old Thurmond Townsend was appraising his backyard and became intrigued by the now malleable mud, which had the consistency of clay. Though he had never tried modeling before, Townsend started working with the mud to create busts of George Washington and Abraham Lincoln from pictures. The two sculptures were going well… except for the ears. On his way home from work as a bus boy, Townsend stopped into the Dallas Art Institute and asked instructor Harry Lee Gibson how to sculpt ears.

Taking Gibson’s advice that he try modeling from life, Townsend created a bust of his wife Marie. He entered this sculpture in the 9th Annual Dallas Allied Arts Exhibition (March 20-April 17, 1938). The Dallas Art Association, now DMA, started holding juried exhibitions for artists residing in Dallas and Dallas County in 1928 and did so annually through 1964.

Townsend’s mud Marie Townsend was not only accepted to the exhibition’s Sculpture and Crafts section, but was awarded a $25 prize sponsored by Karl Hoblitzelle, a DMFA Board member. Townsend’s sculpture was the first work by a Black artist accepted to the Dallas Allied Arts exhibition. This was notable enough at the time that TIME magazine reported on Townsend and his sculpture in the April 4, 1938 issue.

“Art: Marie in Mud,” TIME, April 4, 1938

It should be stated that the eligibility rules in the exhibition prospectus did not limit entries by race and identification of race was not part of the information on the entry card required with each submission.

Entry Form for 9th Annual Dallas Allied Arts Exhibition

An interesting side note, the other sculpture award at the 1938 Allied Arts Exhibition went to Harry Lee Gibson, the Dallas Art Institute instructor who helped Townsend with his “ears” problem.

As the mud sculpture would crumble as it dried, Gibson made a plaster cast of the bust for the Townsends. The plaster cast would go on to be displayed at the Paul Laurence Dunbar branch of the Dallas Public Library.

The Dallas Morning News featured an image of Marie Townsend in its March 6, 1938 issue.

1938 continued to be a successful year for Townsend’s sculptures. His Self Portrait, a second mud sculpture, was selected for the juried Texas Section of the Golden Jubilee Exhibition for the 1938 State Fair of Texas. In her review of the DMFA State Fair exhibition, the Dallas Morning News’ Elisabeth Crocker calls Self Portrait “…amazing…” and goes on to describe the sculpture as an “…even more sensitively executed, life-size bust of himself” discounting any who thought his Allied Arts prize-winning Marie Townsend was a “flash in the pan.”

The Texas Section of the 1939 State Fair Art Exhibition was an invitational exhibition and Townsend was invited to submit a piece due to his selection for the 1938 Allied Arts exhibition. He submitted a sculpture titled Dog, that Crocker described as a “cunning dog’s head,” in her review of the show.

“Head of Dog,” Dallas Morning News, October 8, 1939

Townsend was awarded his second Allied Arts sculpture section win, a $25 prize sponsored by the Rush Company, for Girl Friend at the 12th Annual Allied Arts Exhibition in 1941.

The artist does not appear in any of the DMFA’s juried exhibitions after the early 1940s. The current location of the works mentioned here, or any other of his artworks is unknown. If you have any information on Townsend or his body of work, please let us know.

Thanks to former McDermott Intern Melinda Narro whose extensive research brought Thurmond Townsend’s story to our attention. Thanks also to Communications staff Jill Bernstein and Lillian Michel for additional research.

Hillary Bober is the Archivist at the Dallas Museum of Art.

Under the Influence: What Inspired Picasso

Picasso’s first financial success came in spring 1906, when he sold the entire inventory of his studio to art dealer Ambroise Vollard for the then large sum of 2,000 francs. This allowed him and his partner, Fernande Olivier, to travel to Barcelona and from there to the Pyrenean village Gósol. In Spain, Picasso was a different person, Olivier remembered: “As soon as he returned to his native Spain, and especially to its countryside, he was perfused with its calm and serenity. This made his works lighter, airier, less agonized.” It is not surprising then that in the almost three months the couple spent in Gósol, Picasso produced more than 300 paintings, drawings, and sculptures with Olivier as his main model. A significant change in his style announced itself during these months, influenced in part by the spare landscape and the region’s unique colors, but also by two exhibitions he recently saw: the Jean-Auguste-Dominique Ingres retrospective at the 1905 Salon d’Automne, and a display of Iberian art at the Louvre from recent excavations in Andalusia.

Pablo Picasso, Nude with Folded Hands, 1906, gouache on paper, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.19.McD

A diamond pattern and the contours of a figure bleed through the thin paint of the pale pink background in Nude with Folded Hands. Only Olivier’s own ocher outlines set her apart from the nondescript, empty environment in which she is standing, giving the painting the effect of a bas-relief. The voluptuous body seems awkwardly twisted at its waist and shoulders, the head is slightly bent down, and her almond-shaped eyes are closed. In its rigidity, the face evokes Iberian art as well as a sculpture bust of Olivier, Head of a Woman, that Picasso made in the same year. Standing in front of her beholder, she is timidly folding her hands; however, her modesty is a false one, her hands revealing more than they hide, guiding the viewers gaze. Olivier often posed in the nude for Picasso, and while the young artist frequently made small drawings and caricatures of his sexual escapades, the studies and paintings of Olivier from 1906 stand out through their intimate eroticism, absent in his earlier works and in the following years.

Pablo Picasso, Bust, 1907-08, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Joshua L. Logan, Loula D. Lasker, Ruth and Nathan Cummings Art Foundation, Mr. and Mrs. Edward S. Marcus, Sarah Dorsey Hudson, Mrs. Alfred L. Bromberg, Henry Jacobus and an anonymous donor, by exchange, 1987.399.FA,
© Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Bust, probably painted in the winter of 1907-08, looks fundamentally different than Nude with Folded Hands⁠—and much had happened in the meantime. In spring or summer 1907, he visited the indigenous art and culture collection at the Musée du Trocadéro in Paris, which was dusty and deserted, but opened Picasso’s eyes to a new influence: art from outside the Western canon, originating from European colonies in Africa and Oceania; this led him to finish his monumental painting Les Demoiselles d’Avignon (1907, MoMA). Finally, at the Salon d’Automne, he saw the retrospective dedicated to Paul Cézanne. These exhibitions had a great influence on Picasso’s artistic development and his quest for an escape from the confines of illusionistic art, established during the Renaissance. Picasso further explored the pictorial means of simplification; the muscular woman in Bust, lifting her arms above her head and pulling her hair into a bun, is reduced to outlines and shading that is achieved through isolated application of color and expressive brushstrokes, rather than the traditional method of gradients from white to black. Her face, devoid of emotion, echoes the masks he saw at the Trocadéro, which might have looked like the Je face mask from the Yaure peoples.

Je face mask, Yaure peoples, about 1930-52, wood and pigment, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2018.7.McD

The fragmented body is reduced to basic geometric shapes, with their contours opening so that the background and the foreground merged, like Picasso had observed in Cézanne’s work.

Paul Cézanne, The Rooftops, about 1898, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.6.McD

Despite being celebrated as an inventor, Picasso never worked in an artistic vacuum. Trying to find a new language from 1906 onward, he was especially perceptible to influences from outside the traditional Western canon, which makes these works compelling, even for the present-day beholder.

Christine Burger is the Research Assistant for European Art at the DMA.

Latinx Literature: An Arts & Letters Live Reading List

Looking for some inspiration, a deeper dive into current issues, or your next favorite recipe? Here’s a list of books recommended by the Arts & Letters Live team honoring Hispanic Heritage month. 

Fiction: 
Afterlife by Julia Alvarez
Mexican Gothic by Silvia Moreno-Garcia
Dominicana by Angie Cruz

Afterlife by Julia Alvarez

Nonfiction:
Silver, Sword, and Stone by Marie Arana
The Line Becomes a River: Dispatches from the Border by Francisco Cantú

Silver, Sword, and Stone by Marie Arana

Children’s Picture Books:
Love by Matt de la Peña and Loren Long
Dreamers by Yuyi Morales
Both authors and illustrators previously featured at Arts & Letters Live!

Yuyi Morales presenting Dreamers at Arts & Letters Live in 2019

Young Adult Fiction:
We Are Not From Here by Jenny Torres Sanchez

We Are Not From Here by Jenny Torres Sanchez

Poetry:
Tertulia by Vincent Toro

Tertulia by Vincent Toro

Memoirs:
Where I Come From: Life Lessons from a Latino Chef by Aarón Sánchez
Native Country of the Heart by Cherríe Moraga

Where I Come From: Life Lessons from a Latino Chef by Aarón Sánchez

Cookbooks:
Muy Bueno: Three Generations of Authentic Mexican Flavor by Veronica Gonzalez-Smith and Evangelina Soza
My Sweet Mexico: Recipes for Authentic Pastries, Breads, Candies, Beverages, and Frozen Treats by Fany Gerson

My Sweet Mexico: Recipes for Authentic Pastries, Breads, Candies, Beverages, and Frozen Treats by Fany Gerson

You Asked, They Answered! #AskaCurator Highlights

The DMA participated in #AskaCurator Day on Twitter last week—a day that harnessed the power of social media to connect our curators to just about anyone with a Twitter account and a burning question. Users tweeted their questions using the #AskaCurator hashtag for our seven participating curators to respond to. This resulted in a wide-ranging (and fun!) array of answers, from absurd museum gifs to personal anecdotes. Here are a few of the highlights:

Q: What is your favorite museum gif?

Q: How important is social media to seeing and finding new artists?

Q: What’s one of the weirdest paintings in your collection?

Q: What is your biggest “OMG I can’t believe I get to work/handle these object(s), pieces of history, etc.”?

Q: How have you done your job during the pandemic?

Follow us on Twitter to read through all of our #AskaCurator threads!

The Figures Behind “Hands of the Heroes”

The brooches in Kiff Slemmons Hands of the Heroes series, part of the exhibition Contemporary Art + Design: New Acquisitions, are each inspired by historical figures. Browse our round-up of interactive materials below to help you become familiar with the heroes represented and their historical significance.

Kiff Slemmons, Hands of the Heroes, 1987–1991, silver, ebony and mastodon ivory, Dallas Museum of Art, gift of Deedie Potter Rose; TWO x TWO for AIDS and Art Fund for Wearable Art, 2020.12.1-12

Harry Houdini

Jacques Cousteau

Marie Curie

Marco Polo III

Don Quixote

Glenn Gould

Roald Amundsen

Louis Leakey II

Fred Astaire

Emily Dickinson

Stephen Jay Gould

Joseph Cornell


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