Archive for the 'Decorative Art and Design' Category

Jazz and Jewelry: Celebrating Art Smith in August

In June, the DMA opened the beautiful exhibition From the Village to Vogue: The Modernist Jewelry of Art Smith, featuring 26 dynamic pieces of silver and gold jewelry created by artist Art Smith. 

 

 

To celebrate this show, we are making August the month of all things Art Smith. You can explore the show with a metalsmith during a  Gallery Talk; stop by the Center for Creative Connections to look at Smith’s tools; listen to the jazz that inspired Smith, every Thursday evening during Jazz in the Atrium; or, if you’re a teen, sign up for the Urban Armor Maker Club to create a programmable piece of jewelry. Be sure to check out the full schedule of events for more information.

 

Jazz in the Atrium

 

In addition to being one of the leading modernist jewelers of the mid-20th century, Smith was an avid jazz enthusiast and a supporter of early black modern dance groups. This inspired us to commission a new dance from our Arts District Neighbors, Dallas Black Dance Theatre, accompanied by a new jazz suite composed by jazz drummer Stockton Helbing.

 

 

First, we met with Nycole Ray, Artistic Director for Dallas Black Dance Theatre II, and Stockton to discuss the format of the piece—how long would the entire piece be, how many dances would comprise the whole performance, does there need to be transition music between the dances, what tempo would be best for each dance, what style of jazz would fit the feel of the piece, and more. We also agreed that a jazz trio would be best so the band and the dancers could all fit on stage together during the live performance.

 

Once those questions were answered, Stockton began composing an original piece of music he titled On 4th Street, after the location of Art Smith’s studio in New York. Stockton created MIDI demos of his music for Nycole to review before he went into the studio to make the final recording with other musicians.

 

We now have the final masters of the music, and Nycole has begun choreographing the dances and working with the dancers on the piece she titled Art on 4th Street.

 

Dallas Black Dance Theatre II

This dance will have its world premiere during the Friday, August 15 Late Night. In addition to Art on 4th Street, this evening will feature live jazz, jewelry making, a film screening of Paris Blues, tours, and more—all inspired by Art Smith!

 

Stacey Lizotte is Head of Adult Programming and Multimedia Services at the DMA.

 

 

Searching for Chanel at the DMA

When Wendy Reves donated a massive collection of over 1,400 objects to the DMA in 1985, it was already known that a few large furniture objects, like the dining table, originally belonged to Coco Chanel. Recently, we began a new quest to see what other objects might have belonged to Mlle Chanel that are currently in the DMA’s collection. To do so, we looked at old photographs from the 1930s and 40s, when the designer lived at Villa La Pausa, in southern France, and tried to match furniture in those photos to what we have today in the Reves Collection. When we found matches, we knew that the objects were left behind by Coco Chanel when she sold La Pausa to Emery and Wendy Reves in the early 1950s. Here are a few examples so you can go see for yourself.

The Entry:
entry

This chandelier was originally in Coco Chanel’s bedroom, hanging above her bed. Like most people who move, Mlle Chanel didn’t feel the need to take the light fixtures in her home with her. Wendy Reves, however, decided this could not stay in her new bedroom and moved it to the entryway of her home.

hanel’s Bedroom at La Pausa, with the chandelier now in the Reves entry and the desk at the right now serving as a buffet table in the Reves Dining Room.

Chanel’s bedroom at La Pausa, with the chandelier now in the Reves entry and the desk at the right, now serving as a buffet table in the Reves Dining Room

The Dining Room:
dining

This long table was originally used by Coco Chanel as a desk; however, Wendy decided that this could be useful in another way. She unfolded the leaves and moved it into her dining room to act as a buffet table.

The Grand Hall:
clock

Mlle Chanel had a set of two matching clocks, this one, which is now hanging in the Grand Hall, and another that hangs above the fireplace in the Reves Salon. When Wendy and Emery Reves moved in, they enjoyed these gold clocks and kept them in their original locations before donating them to the DMA.

Coco’s Great Hall, with the same sunburst clock on the wall.

Coco’s Great Hall, with the same sunburst clock on the wall.

The Library:
library

Possibly one of the coolest furniture items in the Reves Collection, this chair actually reclines using steel rods that come out of the handles. You can barely see them here, but pulling them out and pushing them in changes the recline of this chair. It is probably not as comfortable as our plush recliners today, but it was still the prototype. This early version of the recliner was originally in Mlle Chanel’s bedroom.

The Reclining Chair in the Library, shown with the rods pulled out

The reclining chair in the Library, shown with the rods pulled out

The Bedroom:
mirror

Originally in Mlle Chanel’s bedroom at La Pausa, this mirror didn’t travel far when Wendy and Emery Reves moved. They opted to keep it in their own bedroom. Interestingly, this is the only item that belonged to Coco Chanel that is in the Reves Bedroom.

The other side of Coco’s bedroom features the mirror now in the bedroom of the Reves collection as well as the reclining chair now in the library.

The other side of Coco’s bedroom features the mirror now in the Reves Bedroom as well as the reclining chair now in the Library.

The Salon:
salon

Of the many items in this room that belonged to Coco Chanel, we think that this yellow couch might have originally been covered in a darker fabric and left behind when she sold La Pausa. Wendy liked the color yellow and recovered the couch to fit her tastes. We can see the similarity between them when comparing the side views.

Chanel’s Salon at La Pausa, with the same couch seen from the side.

Chanel’s Salon at La Pausa, with the same couch seen from the side

Michael Hartman is the McDermott Intern for European Art at the DMA.

Open Office: Decorative Arts and Design

Kevin W. Tucker is the Museum’s Margot B. Perot Curator of Decorative Arts and Design. He joined the Museum in the summer of 2003 and has curated acclaimed exhibitions such as Gustav Stickley and the American Arts & Crafts Movement and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. Take a peek inside Kevin’s DMA office:

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21 Years of Silver Supper

This past Friday was the 21st anniversary of Silver Supper, an annual event that celebrates the DMA’s outstanding holdings of American decorative arts and silver. This year’s Silver Supper highlighted thirty-two works from the DMA’s decorative arts and design collection. For more information on the annual event, visit the DMA’s website.

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Soup’s On

In a museum the size of the DMA, it’s hard to keep track of isolated changes over 370,000 square feet. So we are letting you know about three recent additions to the permanent collection that are now on view. I encourage you to visit the Museum and go on a “scavenger hunt” to see how these works add an extra spark to the galleries—remember, general admission is free!

All three of the works fall within the purview of decorative arts and were originally marketed to elite consumers. One is by a well-known figure—the 19th-century design magnate Louis Comfort Tiffany (American, 1848-1933). Fans of contemporary art or those familiar with the DMA’s upcoming exhibitions will recognize the name of photographer Cindy Sherman (American, born 1954). The third designer may be unknown outside of specialist circles, but during his lifetime Archibald Knox (British, 1864-1933) was credited with developing a uniquely British approach to the Art Nouveau movement.

Cindy Sherman, "Madame de Pompadour (née Poisson)" soup tureen with platter, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

Cindy Sherman, “Madame de Pompadour (née Poisson)” soup tureen with platter, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

From March 17 to June 9, the Cindy Sherman exhibition will adorn the walls of the Barrel Vault and Quadrant Galleries, but visitors to the European Galleries can also encounter the contemporary American’s work. Her Madame de Pompadour (née Poisson) soup tureen with platter sits camouflaged with rococo curves and floral embellishments. It creates a provocative disjuncture amid a wall of paintings by Canaletto (Italian, 1697-1768), Jean-Baptiste Oudry (French, 1686-1755), and Jacques-Louis David (French, 1748-1825).

Madame de Pompadour (French, 1721-1764) was the most famous of King Louis XV’s mistresses. She played a critical role in elevating rococo style to the pinnacle of aesthetic taste in mid-18th-century France. In 1756 she commissioned a tureen and platter from the renowned porcelain manufacturer in Limoges. Over two hundred years later, Sherman used the same factory to produce a limited-edition interpretation based on Pompadour’s original design.

Sherman takes on the guise of a historical tastemaker but allows viewers to be in on her joke. Close inspection of the photo-silkscreened portrait (reproduced twice on both the tureen and platter) reveals a pastiche—the theatrical make-up, somewhat ratty shawl, ill-fitting gray wig, and conspicuously faux breasts.

Cindy Sherman, "Madame de Pompadour (née Poisson)" soup tureen with platter, interior, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

Cindy Sherman, “Madame de Pompadour (née Poisson)” soup tureen with platter, interior, 1990, Ancienne Manufacture Royale de Francem, porcelain with silkscreen transfer and platinum decoration, Dallas Museum of Art, DMA-amfAR Benefit Auction Fund

Museum guests won’t glimpse the tureen’s additional humorous detail because it is hidden on the base of the interior. As a visual pun on Pompadour’s maiden name and extreme wealth, Sherman created a still life of fish (French, poisson) and beaded necklaces.

Creative Director: Louis Comfort Tiffany, Vase, c. 1905-1919, earthenware, Dallas Museum of Art, Discretionary Decorative Arts Fund

Tiffany Studios, Vase, c. 1905-1919, earthenware, Dallas Museum of Art, Discretionary Decorative Arts Fund

Several new installations spice up the displays in the North Decorative Arts Gallery. Here you can find the latest addition to the DMA’s collection of works by Tiffany. Placed in a corner case surrounded by other examples of leading art pottery manufacturers, the brilliant hues of this small vase seem to reiterate the impact Tiffany Studios had on American decorative arts.

The iridescent surface shimmers with deep indigos, purples, and teals. The shape conjures images of flower petals or buds. Both traits demonstrate Tiffany’s dual focus on nature and mastering a material’s technical possibilities.

He coined the term “Favrile” in 1893 as an adaptation of the Old English word for “handmade.” The same moniker distinguished the wares of the ceramic workshop when it opened at Tiffany Furnaces (Corona, New York). As seen here, the glazing process allowed for creative expression and experimentation on the surface of an object formed from an existing mold.

Archibald Knox, Liberty and Co., W. H. Haseler & Co., Box (model 652 variant), 1905, Dallas Museum of Art, anonymous gift.

Archibald Knox, Liberty and Co., W. H. Haseler & Co., Box (model 652 variant), 1905, Dallas Museum of Art, anonymous gift.

The third object making its DMA debut appears in a case on the east wall of this gallery. It’s hard to miss a lavish box decorated with incised linear patterns and blue-green enamel, and topped by a sizeable opal. On the adjacent platform, a charger with ship motif (1881) and a bench (1900) echo the Celtic stylings seen on Knox’s construction. Taken as a whole, the arrangement illustrates the late 19th-century interest in national identity. Many artists in Europe used the contemporary archeological discoveries of Scandinavian sites as source material for a “Viking Revival” style.

This piece is one of four variants known to exist. Unlike the other, simpler iterations, the model 652 variant features a bulging lid beset with a substantial gem. Within Liberty & Co.’s Cymric line, this would have been one of the costliest items for sale. Thankfully, this and the other works described above can be seen free of charge at the Dallas Museum of Art.

Emily Schiller is the McDermott Graduate Curatorial Intern at the Dallas Museum of Art.

Red, White, and Blue

Some visitors to the DMA may have taken our self-guided tour Seeing Red, and loyal readers of our blog may remember a post we did back in December about works in our collection that are white. So while we have not focused on the color blue yet, we thought this would be a good day to share with you a few works in our collection that feature red, white, and blue.

Striped chevron bead, Drawn glass, Dallas Museum of Art, gift of The Dozier Foundation

Childe Hassam, Flags, Fifth Avenue, 1918, Watercolor, Dallas Museum of Art, Munger Fund, in memory of Mrs. George Aldredge

Anne Vallayer-Coster, Bouquet of Flowers in a Blue Porcelain Vase, 1776, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund and gift of Michael L. Rosenberg

Rufino Tamayo, El Hombre (Man), 1953, Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds [credit line published in 1997 DMA Guide to the Collections: Dallas Museum of Art, commissioned by the Dallas Art Association through Neiman-Marcus Exposition Funds]

Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. James H. Clark

Yves Tanguy, Apparitions, 1927, Oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Nancy O’Boyle

Jean Antoine Theodore Giroust, Oedipus at Colonus, 1788, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund

James Brooks, Quand, 1969, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Wassily Kandinsky, Boating (from Sounds), 1907-1911, 1913, Volume with thirty-eight prose poems and twelve color and forty-four black-and-white woodcuts, Dallas Museum of Art, Centennial gift of Natalie H. (Schatzie) and George T. Lee

Stacey Lizotte is the Head of Adult Programming and Multimedia Services.

Seldom Scene: Installing Form/Unformed

A look back at the installation of Form/Unformed: Design from 1960 to the Present, the first comprehensive overview of our modern and contemporary design collections, on view in the Tower Gallery. Work in the gallery began in October 2010 for the Decemeber 19, 2010 opening. Below are a few shots of the installation process.

DMA exhibition staff, including preparators John Lendvay and Lance Lander and exhibitions graphic designer Kevin Parmer, install the newly opened Form/Unformed: Design from 1960 to the Present in the Level 4 Tower Gallery.

Photography by Adam Gingrich, DMA Marketing Assistant.

 

 

Boogie-Woogie April – Jazz Appreciation Month

April celebrates one of the most joyous and “most American” music styles—jazz. In fact, jazz is such an important part of American culture that a whole decade in American history, the 1920s, has come to be known as the Jazz Age. In the DMA spaces, you can find connections between the visual arts and jazz every week on Thursday evenings from 6:00 to 8:00 p.m. during Jazz in the Atrium.

In our newest exhibition, Youth and Beauty: Art of the American Twenties, you can see the work of jazz admirer and Harlem Renaissance leader Aaron Douglas. In Charleston (which references Paul Morand’s novel Black Magic), Douglas depicts the jazz scene set within the African community, in which the genre has part of its roots. Commenting on a later work, Douglas equated the figures in the painting with different types of music, describing the saxophone player as a representation of jazz and “Songs of Joy and the Dance.”

Aaron Douglas, "Charleston," c. 1928, gouache and pencil on paper board, North Carolina Museum of Art

Douglas’s contemporary and fellow jazz enthusiast Stuart Davis is featured in the American galleries with a work that, although subtly, also reveals the rhythms of the Jazz Age. Not only do the bold colors and forms of Electric Blub reflect the energy of the time, but the subject speaks to the modernism and industrialization of 1920s America.

Stuart Davis, "Electric Bulb," 1924, oil on board, Dallas Museum of Art, Fine Arts Collectible Fund, 1988.59, © Estate of Stuart Davis / Licensed by VAGA, New York, NY

Nearby, a stunning portrait sculpture of the jazz musician Huddy “Leadbelly” Ledbetter serves as an appropriate transition in our jazz-inspired tour between Davis’s painting and William Waldo Dodge’s Skyscraper cocktail shaker with cups. Developing rapidly in the 1920s, the skyscraper became, together with jazz, a symbol of a free, modern America, inspiring designers across the country.

Michael G. Owen, Jr., "Leadbelly," 1943, black serpentine, Dallas Museum of Art, Mr. and Mrs. Tom Gooch Fund Purchase Prize, Twelfth Annual Texas Painting and Sculpture, 1950-1951, 1950.91

William Waldo Dodge, Jr., “Skyscraper” cocktail shaker with cups, c. 1928-1931, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

But if the connections we’ve made so far are too obvious or the works too representational for your taste, don’t worry; make your way toLevel 3, where you will find works by abstract artists and jazz lovers Jackson Pollock and Piet Mondrian.

With improvisation being a key feature of jazz music, some argue that the process in this genre is at least as important as (perhaps more than) the end result. The same can be said of Pollock’s and Mondrian’s work. Pollock moving around his canvas as he pours the paint can be compared to a jazz musician improvising during a performance; both represent similar artistic expressions and ultimate celebrations of their respective arts.

Jackson Pollock, Cathedral, 1947, enamel and aluminum paint on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Bernard J. Reis, 1950.87 © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Piet Mondrian, "Place de la Concorde," 1938-1943, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.22.FA © 2012 Mondrian/Holtzman Trust c/o HCR International Washington DC

A big fan of boogie-woogie and a seeker of balance and equilibrium, Mondrian used his intuition to place and arrange the lines in works such as Place de la Concorde—much like a jazz musician would intuitively improvise on his instrument. In fact, Mondrian identified with jazz and boogie-woogie so much that he once said:

“True boogie woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means—dynamic rhythm.”

As you can see, jazz can be a treat not only for your ears but also for your eyes! So come celebrate Jazz Appreciation Month any (or every) Thursday night in April at the DMA!

Vivian Barclay is the McDermott Graduate Curatorial Intern for Decorative Arts and Design at the Dallas Museum of Art.

Mary Jordan is the McDermott Education Intern for Family Experiences and Access Programs at the Dallas Museum of Art.

“Like a Virgin”: Countdown to Gaultier’s First Exhibition

Last week several of my colleagues and I began meeting about the logistics of deinstalling the exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk once it closes on February 12. Gaultier is the world-renowned French couturier, whose fashion has been worn by everyone from Madonna to Lady Gaga. We found it difficult to believe that we were already making plans to take down a show in which we had invested so much time and effort installing. I was enormously privileged to be given the opportunity to help coordinate this installation as its exhibition registrar and to witness firsthand how so many of my colleagues transformed themselves daily into magicians in order to see this complicated project come to fruition in a tight timeframe. Permit me this walk down memory lane as I highlight stops, junctions, and detours on our way to what was the first of many openings, the VIP Host Committee Luncheon at 11:00 a.m. on November 9, 2011.

July 14–19 (3 months and 3 ½ weeks until opening)

This exhibition was the first fashion installation most of us had ever worked on, and its many technical requirements added extra complexities. A trip to the Montreal Museum of Fine Arts’ installation was vital for me and several of my colleagues. We take hundreds of pictures, ask pages of questions, and document mannequin mounting, lighting, and mechanical specifications.

October 17 (3 weeks and 2 days until opening)

Two 18-wheelers deliver the majority of the exhibition, with mannequins, mounts, and furniture in a regular truck, and costumes and works on paper in a climate-controlled one.

October 18 (3 weeks and 1 day until opening)

As soon as possible, we locate and unpack the Galleon headband so its dimensions can be verified for our preparators, who will make a mount for it, and our carpenters, who will build the proper-size “porthole” display case.

Preparators John Lendvay and Mary Nicolett assemble mannequins and take height measurements so they will know where to place them on the platforms in relation to the projectors, which will eventually bring their faces to life.

October 20 (3 weeks until opening)

Once the Odyssey gallery mannequins have been placed, the preparators hang the projectors a precise eighty-eight inches away from their noses so that the faces will align properly and not look like Picasso paintings.

LED strips are affixed inside the Urban Jungle gallery platforms before their frosted Plexiglas tops are installed.

October 21 (2 weeks, 6 days until opening)

Naked assembled mannequins await dressing in what was deemed the “morgue” but later transformed into the Exhibition Store.

October 24 (2 weeks and 2 days until opening)

Several tightly fitted leggings and stockings were packed directly on their legs to save wear and tear from dressing and undressing them at each venue.  Thankfully, the mannequin body parts were labeled so we could easily match them to the proper legless torsos.

October 28 (1 week and 5 days until opening)

Tanel Bedrossiantz from Gaultier’s Paris atelier and local mannequin dresser Greg Goolsby join us on our first day of costume installation.

October 29 (1 week and 4 days until opening)

By the end of our second day, sixty mannequins throughout the exhibition have been dressed, including the catwalk models and their surrounding “punks.” We made it a priority to focus first on those with projections to allow as much time as possible for alignment and editing.

As hectic as the installation is, we find time to appreciate the humor – here Montreal’s organizing curator (and former model) Thierry Loriot demonstrates how to properly wear a Mohawk before attaching it to a mannequin head with double-stick tape.

Preparators and carpenter Dennis Bishop install the screen scrim and fine-tune the chain mechanism of the catwalk.

October 31 (1 week, 2 days until opening)

The porthole into the Urban Jungle gallery is finished, allowing visitors a sneak peek into the installation, and at the DMA’s Margot B. Perot Curator of Decorative Arts and Design Kevin Tucker, who is working with preparator Mike Hill on mannequin placement.

Mannequins patiently await their turn to be mounted on their catwalk platforms.

Tanel detaches a mannequin’s hands in order to install its many bracelets.

The “Hussar coat”-look silk faille skirt is unpacked. This piece has its own crate and is packed suspended over a cone support.

November 1 (1 week and 1 day until opening)

Gaultier atelier staff member Thoaï Nirodeth laces up the Chantilly lace body stocking. The Skin Deep gallery is the last to be dressed and installed because the back wall was built over a doorway we needed in order to move the large mannequin cases in and out of the space.

November 3 (6 days until opening)

We discover that a new mannequin has been sent for Madonna’s dancer’s costume in the Skin Deep gallery, and this one does not want to support himself (or Madonna) on all fours. After consultation with our conservator John Dennis and the Gaultier atelier, we build a mount to support him at the collar bone (surreptitously hidden by his black scarf).

A shipment of new outfits arrives from Paris, including the cowboy and cowgirl looks at the entry of the exhibition (created specifically for the Dallas installation), the 3-D “horn of plenty satin ribbon corset-style gown (which was just on the runway over the summer), and the costume from the film Kika. Upon unpacking the helmet, we notice the absence of a key accessory—an early model video camera. We locate similar ones on Ebay, but are fortunately able to obtain one overnight from a friend of a coworker who (thankfully) never throws anything away.

November 6 (3 days before opening)

The final shipment arrives from Montreal, including mannequins for the new outfits just arrived from Paris and clothing items with animal-related components that had been delayed due to customs problems.

Although it is standard practice to allow artwork twenty-four hours to acclimatize after arrival, time is of the essence and we unpack the final shipment immediately, which includes the doll with the ostrich-feather dress in the Boudoir gallery. In order to import items made from endangered animals or migratory birds, it is necessary to apply for government permits, which can take months to process.

Preparator Doug Velek installs the final two works on paper amid hair clippings in the exit gallery—the space that had been used as the “salon” of wig stylist Hugo Raiah.

November 7 (2 days before opening)

Preparator Lance Lander was instrumental in “lassoing” the numerous and complicated AV components in the exhibition, and also came to the rescue by lending the final accessories to complete the cowboy and cowgirl “looks.” (The lasso and Black Stetson were requested by the atelier at the last minute.)

Carpenter Dennis Bishop puts the finishing touches on the projector covers in the Odyssey gallery.

November 7, 8:30 p.m. (1 day and 9 ½ hours until opening)

Jean Paul Gaultier comes straight from the airport for his first walk-through of our installation. Several of us were on hand to welcome him and are privileged to watch the design genius at work as he adjusts the drapery of fabric and modifies accessories. To add more of his characteristic je ne sais quoi to the Chalk-striped mink pantsuit, he borrows a gold lamé turban from one of the female punks (now stylishly bald) and adds the Plastic bolero with gold thread embroidery.

November 8, 6:00 p.m. (17 hours before opening)

Registrars, preparators, and even our chair of collections and exhibitions scramble to clean, arrange, and affix the mirrored tiles to the platforms in the Metropolis gallery.

November 9, 10:00 a.m. (1 hour until opening)

After final consultation with Jean Paul Gaultier, his atelier staff hang the train of the Satin cage-look corset dress on the wall according to his specific direction.

Reagan Duplisea is the Assistant Registrar for Exhibitions at the Dallas Museum of Art.

Big Love from Jean Paul Gaultier

You may have heard that the U.S. Premiere of The Fashion World From Jean Paul Gaultier: From the Sidewalk to the Catwalk opened yesterday at the Dallas Museum of Art. But we had a week of pre-opening  events prior to Sunday, including the Press Preview on Thursday morning. Below are a few of our favorite shots from our time with the “enfant terrible”.

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Kimberly Daniell, Public Relations Specialist at the Dallas Museum of Art


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