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We’ve Come a Long Way!

Published May 16, 2018 Archive Closed
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Since 1977 the International Council of Museums (ICOM) has promoted an annual International Museum Day, on or around May 18, to highlight how “museums are an important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples.” Beginning in 1992, ICOM has created a theme for the annual event. The theme for 2018 is Hyperconnected museums: New approaches, new publics.

With this theme in mind, I thought it would be interesting to take a look back at one of the DMA’s earliest attempts at hyperconnectivity, our forays onto the Internet.

In 1993 the DMA was one of the first museums to go online with a gopher site, a text-based site of menus and documents, and a listing on Compuserve, the first major online services provider. The Museum also acquired two email addresses for staff to use, monitored by library staff members.

DMA website, circa 1994-1998, Homepage

DMA website, circa 1994-98

In January 1994 the DMA launched its first website. The DMA was one of the first five museums to go online with “click and view” access for visitors, presenting 200 images of collection objects. This site was hosted on University of North Texas (UNT) web servers. The DMA site was named one of the 1001 best Internet sites by PC Computing magazine in December 1995.

DMA website, circa 1998-2003, Homepage

DMA website, circa 1998-2003

By 1996, the Museum was outgrowing its UNT site and created an Internet Committee to evaluate the website and brainstorm content and ideas for what the site could be. This work resulted in the launch of a new website on DMA servers with a DMA domain name, DallasMuseumofArt.org, in the summer of 1998.

DMA website, circa 2003-08, homepage

DMA website, circa 2003-08

Since this time, the DMA website has continued to evolve in design and with new technological capabilities. The website underwent major redesigns in 2003, 2008-09, 2013 and, most recently, summer 2017 with the new enhanced Collections Online. All of these redesigns had the goal of providing more content and general information for the Museum’s multiple audiences in an easier-to-use package. DMA.org will continue to evolve with these same goals for future users.

DMA website, circa 2008-13, homepage

DMA website, circa 2008-13

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

Hello Again

Published May 14, 2018 Sculpture Garden Closed
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The DMA Sculpture Garden is a treasure of American urban landscape. It was designed by two giants of 20th century design: architectural pioneer Edward Larrabee Barnes and the visionary Modernist landscape architect Dan Kiley, who said of the project, “For us, setting a stage for art was as crucial as the pieces themselves.”

This courtyard, first opened 35 years ago, features the fantastic sculpture created specifically for this space by the artist Ellsworth Kelly and is the perfect stage for the art. It has been admired by countless visitors from our community and has been host to many DISD student field trip lunches through the years.

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The Sculpture Garden’s iconic Ellsworth Kelly statue

After six months of renovations, it is such a pleasure to open it up again for their– and your – enjoyment!

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At last week’s reopening event for the Sculpture Garden, the Ellsworth Kelly statue – back in the original space that Kelly himself chose – was a popular site to behold.

Universal Languages – SOLUNA 2018

Published May 9, 2018 Special Events Closed
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As part of the annual SOLUNA festival, on Sunday, May 13, experience a work of art combining visual and musical elements. Inspired by Beethoven’s Ninth Symphony, Argentinian artist Lihuel Gonzalez’s Las personas no van juntas (They Just Don’t Match) examines the efficacy of translation between languages and between language and music and features Dallas Symphony cellist Jeffrey Hood.

Lihuel Gonzalez, Las personas no van juntas (They Just Don’t Match), 2016, video installation and musical activation, 8 minutes. [image source: lihuelgonzalez.com].

In Las personas no van juntas, González gets at the heart of the difficulty of communication. This is true on a much broader, universal level, but it is particularly germane to the subject of González’s work: the arts and philosophy. This video installation and performance enacts how art is almost always experienced after being subjected to layers of translation. Films or literature or libretti are translated from one language to another so that audiences around the world can access them. And written or spoken interpretation often accompanies visual art or music (as is the case in this very text). In this work, monitors show a speech being simultaneously translated from one language to another, almost like a game of telephone, before a musical composition created of that speech by a computer is played on stage by a cellist. Whew, you might think, I’m lost. Luckily, as González shows us, gesticulations and facial expressions bridge cultures, as does art, which at the end of the day, is one of the true universal languages.

Las personas no van juntas (Activación N2) from Lihuel González on Vimeo

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

Dancing Queen

Published May 7, 2018 Collections Closed
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Even though all of the art hanging on our walls and that sit behind glass are stationary, it doesn’t mean the subjects were staying still. For our Second Thursdays with a Twist in May, we are letting everyone be a Dancing Queen for the night with dance performances, charades, dance instruction and art making with movement! We were very inspired by the pieces in our collection that are busting a move; check out a few examples below.

This dancer doesn’t need a partner, she’s making moves all by herself:

John Singer Sargent, Study for “The Spanish Dancer”, 1882, Watercolor, Dallas Museum of Art, Foundation for the Arts Collection, gift of Margaret J. and George V. Charlton in memory of Eugene McDermott © Image courtesy Dallas Museum of Art

You can’t talk about dance without including Degas, someone who focused many major paintings on delicate ballerinas:

Edgar Degas, Ballet Dancers on the Stage, 1883, Pastel on paper, Dallas Museum of Art, gift of Mrs. And Mrs. Franklin B. Bartholow, 1986.277

The Divine Dancer in Hindu religion, Shiva dances to the beat of the universe surrounded by the flames of destruction:

Shiva Nataraja, 11th century, Arts of Asia, bronze, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund © Image courtesy Dallas Museum of Art

There are very few sculptures that look like they are having as much fun as this bronze break-dancer:

There are very few sculptures that look like they are having as much fun as this bronze break-dancer.
Joel Shapiro, Untitled, 1981–1984, bronze, Dallas Museum of Art, gift of Exxon Corporation © Joel Shapiro / Artists Rights Society (ARS), New York

You can almost hear the soothing sound of a guitar that’s making this couple sway to the music:

Katie Cooke is Manager of Adult Programs

What’s next in the Quadrant Galleries?

Published May 2, 2018 Behind-the-Scenes , Collections , Contemporary Art Closed
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We bid farewell to Edward Steichen’s In Exaltation of Flowers this week. The lavender walls and gold-leafed canvases will go off view on May 13 and the space will be prepped to hold a selection of newly acquired posters from the Guerrilla Girls Portfolio Compleat (opening May 26, more details provided in a future Uncrated post).

Fortunately, two new installations of contemporary art will open the same weekend the Steichen exhibition comes to a close. In the Stoffel Quadrant, eleven large sculptural works will adorn the walls and floor. Lynda Benglis’s Odalisque (Hey, Hey Frankenthaler), a colorful river of poured latex, is representative of the scale and non-traditional materials explored by this selection of artists. Elise Armani, the McDermott Intern for Contemporary Art, chose these works, all of which were created by women whose work resists the crisp geometries associated with the male-dominated Minimalist movement. Instead, Armani wants viewers to recognize the ways each piece interacts with its surrounding and raises questions about the relationship between works of art, physics, anatomy, and psychology. Contemporary culture, environmentalism, and daily routines are critiqued in works by Annette Lawrence and N.Dash. Lawrence draws attention to the proliferation of junk mail and wasted materials by transforming strips of paper into a wall relief. Dash’s blackened, folded paper sculpture is the result of her methodical handiwork aboard the New York subway.

Another group of works by women artists will be on view in the Stoffel Quadrant (formerly home to Yayoi Kusama’s Infinity Room). The installation, Soft Focus, will contain nearly thirty photographs drawn from the DMA’s permanent collection and local lenders. Some images, like Kunie Sugiura’s Central Park 3, broaden the traditional understanding of photography by relying on alternative applications of light sensitive materials. Also included will be an example of Diane Arbus’s iconic approach to portraiture. Other photographers whose works will be on view are women who participated in mainstream art movements but rarely received equal critical acclaim as their male counterparts.

images: Lynda Benglis, Odalisque (Hey, Hey Frankenthaler), 1969, poured pigmented latex, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2003.2 © Lynda Benglis / Licensed by VAGA, New York, NY; Annette Lawrence, Free Paper 12 / 05, 2006–2008, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund 2008.100.A-E © Annette Lawrence; N. Dash, Commuter (New York, 2013), 2013, graphite and paper, Dallas Museum of Art, gift of Bonnie L. Pitman in honor of Deedie Rose and Catherine Rose 2016.63; Kunie Sugiura, Central Park 3, 1971, photo emulsion and acrylic on canvas, Dallas Museum of Art, Lay Family Acquisition Fund 2016.11.1; Diane Arbus, Untitled, 1968, gelatin silver print, Dallas Museum of Art, Polaroid Foundation grant 1975.82 © Estate of Diane Arbus

Emily Schiller is the Head of Interpretation at the DMA

The Power of Pop-Up Art Spot

Published April 30, 2018 Center for Creative Connections Closed
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Since the debut of the Pop-Up Art Spot in 2013, this roaming activity cart has become a favorite stop for visitors of all ages. In a continued effort to make immersive activities that are inspired by nearby works of art, the Center for Creative Connections team has introduced a brand new Pop-Up Art Spot cart designed around special exhibitions. Our first focus is The Power of Gold: Asante Royal Regalia from Ghana, which features over 250 objects revealing the splendor of Asante regalia from the 19th to 21st centuries.

The Power of Gold Pop-Up Art Spot will rotate monthly between two carts of activities until the exhibition closes on August 12, 2018. At the April Late Night, visitors learned about proverbs connected to selected goldweights in the exhibition by playing a match game and making drawings.

In May the cart will focus on textiles. Visitors will observe the detailed patterns in kente cloth and use silk thread to create their own weaving. They can also explore the symbols in adinkra cloth and create a rubbing using various adinkra stamps.

Come try these activities, and more,  in the Power of Gold exhibition on Saturdays from 1:00 to 4:00 p.m. and on selected Late Nights from 8:00 to 10:30 p.m. A special exhibition ticket is required.

Kerry Butcher is the Education Coordinator for the Center for Creative Connections at the DMA.

The Mayer Library Collects: Pacific Standard Time: LA/LA

Published April 25, 2018 Archive , Behind-the-Scenes Closed
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Of the work we do in the library, one of the most enjoyable is collection development…  A.K.A buying books! Materials purchased for the library’s collection primarily support research on the DMA’s encyclopedic collection and exhibitions. One of the most significant areas in which the library collects is exhibition catalogues published by museums and galleries from all over the world. Exhibition catalogues provide current research, photographs, and documentation of works of art, and function as primary sources of historical information for scholars.

A great example of this is the recent purchase of over 20 catalogues from the Pacific Standard Time: LA/LA exhibition program. Pacific Standard Time (PST) is a collaborative program established in 2011 that brings Southern California arts institutions together to present exhibitions on a particular theme connected to the Los Angeles region. Previous iterations were Art in L.A. 1945-1980 and Modern Architecture in L.A. The 2017-2018 PST iteration, LA/LA, explored Latin American and Latino art, featuring art from ancient times to the present across a variety of disciplines.

Golden Kingdoms: Luxury Arts in the Ancient Americas. Pillsbury, Joanne, Timothy Potts, and Kim N. Richter, eds. Los Angeles: The J. Paul Getty Museum; The Getty Research Institute, 2017. Held at the J. Paul Getty Museum at the Getty Center, Los Angeles, September 16, 2017-January 28, 2018; and at the Metropolitan Museum of Art, New York, February 26-May 28, 2018.
Black-and-white checkerboard tunic. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Carol Robbins

The catalogues from this series of exhibitions will serve as authoritative resources for the study of Latin American art at the DMA. For example, the exhibition Golden Kingdoms: Luxury and Legacy in the Ancient Americas featured the DMA’s Incan checkboard tunic, which is also discussed in the catalogue (page 172, catalog no. 73).

And there were two career survey exhibitions for artists in the DMA collection: Valeska Soares and Adriana Varejão.

Valeska Soares: Any Moment Now. Joyce, Julie, and Vanessa Davidson. Santa Barbara, CA; Santa Barbara Museum of Art; Phoenix, AZ: Phoenix Art Museum, 2017. Held at the Santa Barbara Museum of Art, September 17-December 31, 2017, and the Phoenix Art Museum, March 24-July 15, 2018.

Here are a few more highlights:

Mundos Alternos: Art and Science Fiction in the Americas. Hernandez, Robb, et al. Riverside, CA: UCR ARTSblock, University of California, Riverside, 2017. Held at UCR ARTSblock, University of California, Riverside, September 16, 2017-February 3, 2018
Painted in Mexico, 1700-1790 / Pinxit Mexici. Katzew, Ilona. Los Angeles, California: Los Angeles County Museum of Art; Mexico City: Fomento Cultural Banamex, A.C.; Munich: DelMonico Books/Prestel, 2017. Held at Fomento Cultural Banamex, Mexico City, June 29-October 15, 2107; Los Angeles County Museum of Art, November 19, 2017-March 18, 2018; and the Metropolitan Museum of Art, New York, April 24-July 22, 2018.
Found in Translation: Design in California and Mexico, 1915-1985. Caplan, Wendy, ed. Los Angeles: Los Angeles County Museum of Art; Munich: DelMonico Books/Prestel, 2017. Held at the Los Angeles County Museum of Art, September 17, 2017-April 1, 2018.
Radical Women: Latin American Art, 1960-1985. Fajardo-Hill, Cecilia and Andrea Giunta. Los Angeles: Hammer Museum, University of California, Los Angeles; Munich: DelMonico Books/Prestel, 2017. Held at the Hammer Museum, Los Angeles, September 15-December 31, 2017; and at the Brooklyn Museum, Brooklyn, N.Y., April 13-July 22, 2018

You can see a list of all the Pacific Standard Time catalogues held by the Mayer Library here.

The Mayer Library is open to the public. Check the library’s page on DMA.org for current hours.

 

Jenny Stone is the Librarian at the DMA.

In Search of Brandon Kirby and the Golden Spider

Published April 23, 2018 African Art , Behind-the-Scenes , Curatorial , Exhibitions Closed
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Earlier this month, the DMA’s exhibition The Power of Gold: Asante Royal Regalia from Ghana opened to the public. What you may not know is that the entire exhibition of more than 250 objects was inspired by a few works from the DMA’s collection. The DMA Member Magazine, Artifacts, explored two of these objects in the Winter 2018 issue. Discover more about the inspiration behind the exhibition and the history of these beautiful pieces:

In 2014, two finely crafted gold artworks joined the Dallas Museum of Art’s holdings of West African regalia. The cast gold spider and T-shaped bead arrived in an elegant velvet-lined display box bearing an inscription with the following information: the items came from the Asante kingdom, were once owned by the kings, and left their original home in 1883.

Sword ornament in the form of a spider, Ghana, Asante peoples, late 19th century, gold-copper-silver alloy, Dallas Museum of Art, McDermott African Art Acquisition Fund, 2014.26.1

Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific, and The Margaret McDermott Curator of African Art at the DMA, began a multi-year investigation into the works’ journey from the Gold Coast (present-day Ghana) to Texas. This research inspired The Power of Gold: Asante Royal Regalia from Ghana, the first exhibition to focus on Asante royal regalia in over three decades. The Cree family were previous owners of the objects, and in their oral history detailing the objects’ relocation from Africa to England they mention a man named Robert L. Brandon Kirby. Who was Brandon Kirby and how did he come to own these ornate examples of gold craftsmanship? These questions drove Walker to dig through British Parliamentary Papers, correspond with international archivists and scholars, and trace census records throughout the US and Europe. Born in Australia in 1852 as Robert Low Kirby, and later recorded under the surname Brandon Kirby and then Brandon-Kirby, he traveled in 1881 to the British colony, where he served in the Gold Coast Constabulary, a police force. He earned the respect of the British governor of the Gold Coast, Sir Samuel Rowe, and during a mission in 1884 he was tasked with delivering letters from Sir Samuel to the kingdom’s various paramount chiefs regarding the pending selection of an heir to the Golden Stool (throne).

Walker’s reconstructed narrative identifies this tour through the Asante kingdom as the context for Brandon Kirby’s possession of the cast gold spider and T-shaped bead, which were probably bestowed upon him by Prince Agyeman Kofi, later known as Asantahene (king) Kwaku Dua II.

Pendant, Ghana, Asante peoples, late 19th century, gold-copper-silver alloy, Dallas Museum of Art, McDermott African Art Acquisition Fund, 2014.26.2

The following year, Brandon Kirby partnered with James Cree (d. 1891), a wealthy Scotsman, to buy cattle ranches in the Territory of New Mexico, thus the Asante spider and bead arrived in the US. According to Cree family lore, Brandon Kirby’s dramatic departure from New Mexico forced him to travel light, leaving behind his mementos of his time in the Gold Coast.

The intricate castings were then passed through generations of the Cree family, landing in Austin, Texas. From there, it was only a few hundred miles and years of research before their reintroduction at the DMA in The Power of Gold. A final historical resource soon joined the spider and bead at the DMA and recently entered the Museum’s collection—an album of photographs by Frederick Grant dated 1883–84 and featuring Brandon Kirby in Kumasi, the capital of the Asante kingdom.

Frederick Grant, Ashanti and West Central Africa, 1883-4 (cover), 1883–84, leather, copper alloy, and paper, Dallas Museum of Art, African Collection Fund, 2017.12

Frederick Grant, Ashanti and West Central Africa, 1883-4 (detail), 1883–84, leather, copper alloy, and paper, Dallas Museum of Art, African Collection Fund, 2017.12

Find out more about Brandon Kirby and the golden spider in the beautifully illustrated exhibition catalogue that accompanies the exhibition.

Dr. Emily Schiller is the Head of Interpretation at the DMA.

Contemporary Additions

Published April 20, 2018 Arts District , Behind-the-Scenes , Collections , Contemporary Art , Curatorial 1 Comment
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With 93 exhibitors, the 2018 Dallas Art Fair left no dearth of fantastic work to purchase through the Dallas Art Fair Foundation Acquisition program. For the Dallas Art Fair’s 10th anniversary, and the third year the DMA has participated in this exciting partnership, the contemporary collection gained eight new works by seven artists. This year, perhaps more than ever, we are reminded how much representation matters. The curatorial team (Anna Katherine Brodbeck, me, and the McDermott Intern for Contemporary Art Elise Armani), under the leadership of our Director, Agustín Arteaga, used the funds this year to select works that further diversify the contemporary collection. The artists range in age and background as well as the variety of mediums that they use.

Brie Ruais’s large wall-based ceramic was created from the same amount of clay as the artist’s own body weight. In her process-driven practice, Ruais spreads and molds the clay with her hands and feet, marks still evident once the pieces are partially glazed and fired. The DMA’s holdings in contemporary ceramics do not quite reflect the multitude of ceramic work being produced today, and we felt that this work was a striking addition to demonstrate the use of the medium expanded beyond traditional forms.

Brie Ruais, Broken Ground Red (130 lbs of clay spread out from center), 2017. Courtesy of the artist and Albertz Benda [image source: brieruais.com].

In Sanford Biggers’s Sirroco from 2016, the artist repurposes an antique quilt to use as the substrate of this incredible painting. Interested in the inherent geometry and varying textures of the quilts, Biggers references a historical, though unproven, narrative that on the Underground Railroad quilts were used as signposts to guide escaping slaves. Sanford Biggers is a cousin of the painter John Biggers (1924-2001), who is already represented in the DMA’s collection. Acquiring Sanford Biggers’s work provides a great opportunity to explore artistic lineages and make connections between generations.

Sanford Biggers, Sirroco, 2016. Courtesy of Massimo De Carlo Milan | London |Hong Kong [image source: massimodecarlo.com].

This was also the first year we purchased from a local gallery, and we were pleased to select Alicia Henry’s mixed-media work Untitled, 2017, from Liliana Bloch Gallery here in Dallas. In this portrait of a man, Henry uses stitched thread and ink to comment on identity and notions of beauty. Some of the marks appear, hauntingly, like scars and allude to some form of violence previously endured. With this truly powerful work, we further expand our holdings by contemporary African American artists.

Alicia Henry, Untitled, 2017. Courtesy of the artist and Liliana Bloch Gallery [image source: lilianablochgallery.com].

In addition to the works above, we are pleased to have also acquired Matthew Ronay’s sculpture Condition, 2018; Tony Lewis’s drawing Nes, 2018; two gelatin silver prints from Geraldo de Barros’s series Fotoformas Sao Paulo, 1949/2008; and Shara Hughes’s painting Gusto, 2018. It is difficult not to write about every work since they all bring something unique to the conversation. I encourage anyone interested in these acquisitions to visit the gallery websites to learn more about the artists.

Thank you to the generous donors to the Dallas Art Fair Foundation Acquisition program for their time and enthusiasm in making these acquisitions happen!

Chelsea Pierce is the Curatorial Administrative Assistant for Contemporary Art at the DMA.

Farewell to Florals

Published April 18, 2018 American Art , Exhibitions , Lecture , Special Events , Uncategorized Closed
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For the past several months, the Rachofsky Quadrant Gallery on the Museum’s first level has been occupied by seven large paintings spanning half the gallery, nearly floor to ceiling. Installed on a lilac-colored wall, the framed canvases contain figures posed with flowers, rendered in eye-catching pastel hues, and surrounded by alternating sections of black and gold leaf.

These paintings are Edward Steichen’s In Exaltation of Flowers, a commissioned series that the artist completed in 1914 for the home of New York financier Eugene Meyer and his wife, Agnes. Never installed in the space for which they were created, the majority of the panels were kept in storage for the past century. Last summer, the DMA’s conservation team unrolled the canvases, stretched and framed them, and completed conservation treatment so the series could go on tour. Newly conserved and reunited in one exhibition, In Exaltation of Flowers is a time capsule of Edward Steichen’s life and the lives of his close friends on the eve of World War I.

On Thursday, April 26, from 6:00 to 8:00 p.m., we will say goodbye to In Exaltation of Flowers with a soiree that will include a complimentary reception with drinks and small bites inspired by the paintings, a tour about flower symbolism with Dallas Arboretum VP of Gardens Dave Forehand, and a talk by art historian Dr. Jessica Murphy.

Reception
6:00 p.m., Check in at Will Call, Horchow Auditorium, Level 1
Arrive early for a complimentary reception featuring beer, wine, and small bites inspired by In Exaltation of Flowers and Edward Steichen’s French country garden. Hors d’oeuvres will include:

FRESH PEA AND MINT SHOOTER
butter-poached shrimp and hibiscus crema

DRIED FIG AND BRIE CROSTADA
balsamic glaze

GRILLED QUAIL AND SUNDRIED CHERRY SALAD
chive crepes and saffron aioli

ROASTED RED & GOLDEN BEETS WITH TEXAS GOAT CHEESE
arugula and orange-tarragon dressing

PARSLEY CHICKEN IN PHYLLO
romesco sauce

ROSE AND WHITE CHOCOLATE MOUSSE
candied rose petals and toasted almonds

Tour: In Exaltation of Flowers
6:30 p.m., Meet at the Flora Street Visitor Services Desk, Level 1
Edward Steichen was an avid gardener who exhibited his celebrated delphiniums in New York’s Museum of Modern Art. For Steichen and much of society at this time, flowers were more than just beautiful objects; they took on human character traits and the giving or receiving of flowers served as a kind of subtle language. Each of the sitters for In Exaltation of Flowers is paired with specific flowers that relate to their personalities or the nicknames given to them within their friend group. Join Dave Forehand of the Dallas Arboretum for a tour of In Exaltation of Flowers focusing on the types of flowers Steichen included in his paintings and what they might have communicated to a viewer in 1914.

Exhibition Talk: Murals from a “Magic Garden”: Edward Steichen’s “In Exaltation of Flowers”
7:00 p.m., Horchow Auditorium, Level 1
In Exaltation of Flowers captures a very particular moment in Edward Steichen’s career, in the history of art, and in the lives of a circle of friends on the eve of the World War I. A very personal project for the artist, the murals include portraits of close friends, either painted from life or from photographs, alongside flowers inspired by his garden at the French country home where he hosted lively parties. Steichen’s careful portrayal of his subjects reveals the nuances of their personalities and relationships within the social group. Best remembered as a photographer, Steichen had a somewhat rocky relationship with painting and ultimately destroyed much of his painted work. His approach to this series shows a nod toward the Symbolist movement, with its emphasis on flatness, invariable color, and in some sections abandonment of realism. Jessica Murphy, Brooklyn Museum’s Manager of Digital Engagement, will bring to life these and other stories behind Edward Steichen’s murals and the people who inspired them.

Don’t miss your chance to spend an evening in 1914 with Edward Steichen and his closest friends before In Exaltation of Flowers leaves the DMA in early May. For more information, visit DMA.org or click here to purchase a $5 ticket.

Jessie Carrillo is Manager of Adult Programs at the DMA.

 

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