Posts Tagged 'the Center for Creative Connections'



ARTifacts: Gateway to the DMA

When the DMA moved downtown, the new museum included a dedicated education space called the Gateway Gallery. The gallery was named Gateway Gallery to indicate that it was to be a gateway to understanding art and the Museum’s collection.

Director Harry S. Parker III with children in the Gateway Gallery, 1984 [Photographer: Tim Mickelson]

Director Harry S. Parker III with children in the Gateway Gallery, 1984 [Photographer: Tim Mickelson]

The first installation for the Gateway Gallery in January 1984, designed by Paul Rogers Harris, allowed visitors to explore the basic elements of art and discover how artists use those elements to create artworks.

"The Gateway Gallery Guide to The Elements of Art" brochure cover

“The Gateway Gallery Guide to The Elements of Art” brochure cover

There were activities to discover line, form, and color. Also texture:

Child exploring texture through sample materials in the Gateway Gallery, 1984

Child exploring texture through sample materials in the Gateway Gallery, 1984

And perspective:

Children explore a mirrored Room of Infinity to understand perspective [Dallas Morning News]

Children explore a mirrored Room of Infinity to understand perspective [Dallas Morning News]

The Gateway Gallery had many different installations, held special exhibitions, and put on an uncountable number of programs for a variety of audiences, a Museum tradition maintained by the Center for Creative Connections.

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

Fall Transition

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Transition in the Center for Creative Connections is always a bittersweet time. While we’re excited by the infusion of new art in our gallery because it brings new experiences for our visitors, this week we had to say good-bye to some favorites:  The Visitors by Jacob Lawrence, Frank Smith watering his horse, Cross-B Ranch, Crosby County, Texas by Erwin Smith, and Soul Three by Romare Bearden. Now we’re welcoming Ram Mask with Feather Cape by the Kom people in Cameroon, two films by Isa Genzken, and The Mother Load Project, an interactive installation by local artists Lesli Robertson and Natalie Macellaio. Here’s a little more about our newest installations:

Helmet mask with feather costume, Kom peoples, North West Province, Cameroon, Africa, Early to mid-20th century, wood, fibers, and feathers, Dallas Museum of Art, African Collection Fund

Helmet mask with feather costume, Cameroon, North West Province, Kom peoples, early to mid-20th century, wood, fibers, and feathers, Dallas Museum of Art, African Collection Fund

This mask depicts a ram, an animal that is sacrificed in religious rituals. While the face of the animal is carved naturalistically, the horns are designed as two stylized spherical knobs composed of concentric rings. When the mask is worn, it fits snugly on top of the dancer’s head and the dancer’s face is concealed under a fitted hood. The dancer also wears a costume of chicken feathers. masks_of_mbuoshu_book_scan_descreenWhile we are interested in visitors being able to explore the sensory elements of this piece, including the texture of the materials, the weight of the mask, the sounds of a masquerade, and the sight of the feathers in motion, this month we will focus activities in the C3 on mask making. If you were to create a mask symbolic of yourself or an event in your life, what animal would you choose as a symbol, and why?

Additional works from our African collection have recently been installed in the African Galleries on Level 3, including the new acquisition of a sword ornament in the form of a spider.

genzken-chicagodrive
In conjunction with the current exhibition Isa Genzken: Retrospective, on view through January 4, 2015, the Center for Creative Connections is showing two films by Genzken in the C3 Theater. On weekdays you can see Chicago Drive, a 16mm film made in 1992 while Genzken was in Chicago preparing for her Renaissance Society exhibition. It reveals her fascination with local architecture, both the famous and the mundane, and also includes intermittent blues music on the soundtrack. On the weekends, My Grandparents in the Bavarian Forest will be on view. This 63-minute film has English subtitles and is a personal account of Genzken’s grandparents’ home in southern Germany. Through the recording of seemingly banal conversations and her grandparents’ quotidian rituals, Genzken draws a moving portrait of the complexity of family dynamics, and the difficulty of coming to terms with the survivors of the World War II generation.

DSC_0092
This week artists Lesli Robertson and Natalie Macellaio have been on hand in the Center for Creative Connections installing The Mother Load project, an interactive work that hopes to start a dialogue with visitors about the balance of nurturing in one’s life. The collaborative project began as a way to engage with women who lead the creative life of an artist while also being a mother. Through the project, Robertson and Macellaio are collecting fingerprints from artists and their children, recording experiences through written word and audio interviews, and documenting the ongoing project through their interactive website (themotherload.org). In the interactive component of the installation, visitors are asked to respond to this question: “In your life right now, what are you nurturing, and why?” Look for an upcoming post where we interview Robertson and Macellaio about The Mother Load.

Jessica Fuentes is the C3 Gallery Coordinator at the DMA.


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