Last week the Dallas Arts District kicked off Holiday in the District with Holidays at the Center. Below are images from the annual tree lighting event provided by the Dallas Arts District. Visit the Holidays in the District page for information on all holiday-related events, as well as tips on holiday shopping in the District.
Archive for the 'Special Events' Category
Tags: Dallas Museum of Art, Holidays, The Dallas Arts District, Tree Lighting
Tags: Dallas Museum of Art, DMA Friends and Partners, Free, Free Admission
Yesterday we announced our move to free general admission in 2013 along with the launch of an innovative free membership model, the DMA Friends & Partners program. DMA Friends & Partners will not only strengthen our existing relationships with you but also forge new ones, expand audiences throughout greater Dallas, and build a robust global online community.
The DMA Friends program will provide free membership to anyone who wishes to join and will include opportunities for increased access to Museum programs and staff. The DMA Partners program will seek the support of individuals, corporations, and foundations desiring to be a part of the Museum’s efforts to deliver access to its extensive collection and diverse public programs. DMA Partners are also welcome to become DMA Friends and earn rewards through engagement.
DMA Friends earn rewards by engaging with the Museum both at the DMA and online. We will also create a new online engagement platform through which virtual badges are awarded to Friends who really plug-in and make the DMA a vibrant place to be. Badges will give you new ideas about ways to use the Museum that you’ve never thought of before. Earning badges will unlock special rewards and recognition like free tickets to special exhibitions or behind-the-scenes tours with DMA staff.
Our reasons for going free can be explained very simply: the DMA values the participation of the public more than we value the modest return realized from paid general admission. Art museums are different from other cultural destinations because we don’t rely as much on admissions to pay the bills. Our model is closer to that of a public library: we receive substantial philanthropic support from generous individuals, government agencies, foundations, and corporations, and we serve the public by seeking an educational outcome, not a commercial one.
The best part of our work is in seeing how artworks from across 5,000 years of visual creativity can change the way we think about the world, and how we feel about ourselves, as individuals and as a society. We look forward to welcoming you and to learning together.
Find out more about DMA Friends & Partners in the Press Room and watch yesterday’s press announcement below.
Robert Stein is the Deputy Director at the Dallas Museum of Art.
Tags: Art in October, Dallas Arts District, Dallas Museum of Art, Klyde Warren Park, The Legacy of the Plumed Serpent in Ancient Mexico
This weekend we welcomed our newest neighbor to the Dallas Arts District, Klyde Warren Park, with two days of activities and free general admission to the DMA. On Sunday, October 28, we also celebrated ancient Mexico through our free Family Celebration, which took place during the closing celebrations of Art in October. We even held some of our programs at Klyde Warren Park. Below are a few pictures from the day’s events. Be sure to visit The Legacy of the Plumed Serpent in Ancient Mexico before the exhibition closes on November 25!
Tags: Dallas, Dallas Arts District, Dallas Museum of Art, Grand opening, Klyde Warren Park
This week our city’s newest amenity comes online: Klyde Warren Park. Now that we have glorious palaces for high culture, bridges into developing communities, and burgeoning opportunities to live downtown, the next accomplishment to celebrate is a green attraction with an identity open for interpretation by every visitor.
The DMA staff looks forward to the impact of a pedestrian-friendly destination just steps from our front door. The car culture of Dallas is not unique, but whatever we can all do to encourage residents and visitors to stretch their legs and open their eyes can only improve the quality of life for all in our city.
Parks and museums share a great deal—we welcome people of all backgrounds, regardless of particular interests, we offer an informal setting for conversation and relaxation, and we don’t prescribe a route, a timetable, or an outcome for your visit. We both try to offer a respite from the commercial din of contemporary life, some perspective on daily life, and enjoyment that comes from a freedom to wander and explore without confinement.
We look forward to collaborating with the Park as it gets underway with programming, and to accelerating the pedestrian-friendly potential of the Dallas Arts District in a variety of ways. Welcome to the neighborhood, Klyde Warren Park!
Celebrate the grand opening of Klyde Warren Park this weekend. The DMA will move the Studio Creations program outside on Saturday and Sunday from 1:00 to 3:00 p.m., and on Sunday our Maya ballgame demonstration with Grupo Pakal will be held at the Park at 1:45 p.m. Visit the Park’s website for a complete list of events.
Maxwell L. Anderson is The Eugene McDermott Director at the Dallas Museum of Art.
Tags: Ancient Rome, Dallas Museum of Art, Dr. Philip Freeman, How to Win an Election, Marcus Cicero, Princeton University Press
Election season is upon us! Join us at the Dallas Museum of Art on Thursday, October 25, at 7:30 p.m. for a lecture on the ancient Roman election of 64 B.C, when Marcus Cicero won the office of consul, the highest office in the land, with the help of his brother Quintus. Dr. Philip Freeman translated Quintus’ Latin text, How to Win an Election, written to guide Marcus to victory, and discovered the text to be as timely today as it was in ancient Rome. Uncrated caught up with him for a short Q&A and preview:
What piqued your interest in How to Win an Election?
I read the original in Latin back when I was a graduate student in Classics at Harvard. I was struck then by how timeless the advice in the letter was, so I’ve used it since then in my own undergraduate classes with positive responses from the students. A couple of years ago, I decided that it would be great if the general public could read this virtually unknown piece of ancient literature. I was thrilled when Princeton University Press agreed to publish and publicize it!
Does the advice really hold up for the modern-day election? Do you think your book should be required reading for those running for office?
It certainly holds up for today’s elections. Every time I read of a new scandal or technique from the presidential candidates, I think of Marcus Cicero and the election of 64 B.C. I do sometimes worry that modern candidates will apply the principles laid out in the letter, but I think most people running for office today know all the dirty tricks already!
Your work is rooted in the “dead” languages of the ancient world. What is the most difficult thing you have ever translated? And do you think anything is lost in translation?
Every translation is a compromise that loses something of the original. You can try to be painfully literal, but that misses the spirit of the original. You can try to just capture the broad meaning, but that won’t be accurate. I usually compromise and try to take a middle path. How to Win an Election is probably the hardest thing I’ve ever translated because I was struggling so hard to capture the flavor of the letter while staying true to the text.
We’re right around the corner from the next major presidential election. What are your thoughts on our current election process?
I’ve learned that nothing has really changed in 2,000 years. Politicians are still using the same techniques and making the same mistakes.
Any last minute advice you would give the candidates before November 6?
I think Cicero would say never take anything or anyone for granted. Even at the last minute, elections can change completely!
Dr. Philip Freeman is a Professor of Classics at Luther University in Decorah, Iowa. He has been interviewed by NPR’s All Things Considered and has talked on Roman politics across the country. He will lecture on Thursday, October 25, at 7:30 p.m. at the Dallas Museum of Art as part of the Boshell Family Lecture Series on Archaeology.
Liz Menz is Manager of Adult Programs at the Dallas Museum of Art.
Tags: Alan Cumming, amfAR, Barry Manilow, contemporary art acquisition program, Dallas, Dallas Museum of Art, Patti LaBelle, Rachofsky House, Richard Meier, Texas, The Foundation for AIDS Research, TWO x TWO for AIDS and Art
TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas and benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research. The event has raised over $34 million in the past thirteen years, enabling the Museum to acquire more than 125 works of art. October 20 marks the fourteenth annual gala and auction, which features Richard Phillips as amfAR’s 2012 Honored Artist. To learn more about the history of TWO x TWO for AIDS and Art, and this year’s events, including the First Look preview party tomorrow evening, visit the TWO x TWO website. Explore past TWO x TWO events below with guests such as Barry Manilow, Alan Cumming, Patti LaBelle, and more.
Tags: Dallas Museum of Art, Dallas Video Festival, video art
Coming up in just ten short days, the Dallas Video Festival will launch its 25th Anniversary Festival here at the DMA. The festival will include screenings of feature-length works as well as shorts, animation, and other new media, “The Texas Show,” workshops, and more!
Recently, I spoke with Bart Weiss, DVF Artistic Director and all around “ video guy,” about the history of the festival.
So, the Video Festival is celebrating its 25th anniversary this year, back at its original home venue, the DMA. How did the Video Festival start and how did it happen to start at the DMA?
A dear and longtime friend of mine, John Held, Jr., was working on a program that was going to take place at the DMA called Video as a Creative Medium. It was a two-evening program; the first evening featured local video artists and the second evening featured video art from around the world, including works from Michael Smith and other up-and-coming video artists. It was a very successful program. Afterwards, I was chatting with John and Melissa Berry, the program manager at the DMA at the time, and just blurted out, “We should do this again next year, and for four days!” Thus the idea of the Video Festival was born.
I should also mention that on the first evening of the Video as a Creative Medium program, I met a lovely woman named Susan Teegarden, who is now my wife!
The Video Festival ran the first few years basically out of the DMA’s programming office and was not its own organization. Two of the founding board members of the official new organization, The Video Association of Dallas, were those very helpful and supportive DMA staffers–Melissa Berry and Sue Graze (the DMA’s contemporary art curator at the time).
What are a couple of your fondest memories of video festivals over the years?
Of course, I have many, many fond memories of past festivals, but one that really sticks out to me was one I could have never planned for. I cannot recall the exact year, but we had John Wylie Price participating in the festival. We were doing a program that included showing clips of the television show Amos ’n’ Andy. John was part of a conversation that debated whether this show was beneficial or damaging to the African American community since it often played upon stereotypes in the story lines.
We also had Steve Allen in town and he was going to be leading the program that was to follow Price’s. Allen attended Price’s program and instead of doing the schedule program, he ended up continuing the conversation with Price about how many communities–Jewish, African American, and others–often use humor to deal with the pain they experience as part of their history.
An absolutely incredible dialogue erupted and this moment is one that I think of often.
What can we expect at this year’s festival?
There are so many great things planned for this year’s festival–to pick out just a couple would be like looking down at your hands and deciding which finger on your hand was your favorite!
In general though, this year’s festival will feature many incredible Dallas filmmakers, who this year have made some of the greatest work of their lives. Some of these major local players whose work will be featured include (but are not limited to) Julia Dyer, Alan Govenar, Mark Birnbaum, and of course Allen and Cynthia Salzman Mondell, for whom we will hold a great tribute. All of this programming coming together so wonderfully is a statement to how important video art is, and doing the festival at the Museum makes it all the more powerful.
We hope to see you at the festival, September 27-30. For more details and to buy tickets and passes, visit the Dallas Video Festival’s website.
If you need further convincing to come check out the festival, here are a few pictures from Video Fests over the years.
Denise Helbing is the Manager of Partner Programs at the Dallas Museum of Art.
Tags: Dallas Museum of Art, Julius Popp, Monica Bonvicini, Summer Olympics, Walter Winans
If you’re anything like me, you will be spending the next few weeks glued to your television watching the 2012 Summer Olympics. The Olympic Games has this incredible ability to put our regular day-to-day life on hold in a way that no other event can. It is a time-honored event that has survived depressions, recessions, international conflicts, and wars and for two weeks every two years the many people in our world come together to celebrate their countries’ athletic abilities and successes while displaying enthusiastic patriotism that tends to dissipate in the weeks following the Closing Ceremonies.
The Olympic Games is more than an international sporting event, however, since its inception, it has celebrated the arts as well. In the early years of the modern Games there was a regular art competition component. According to the founder, French Baron, Pierre de Coubertin, the ideal Olympians were men who were “educated in both mind and body” and he desired to combine both art and sport in the Olympic Games. From 1912 to 1952, medals were awarded for works of art inspired by sport in the categories of architecture, literature, music, painting, and sculpture. Only two competitors in those forty years achieved Olympic medals in both sport and art competitions, including American, Walter W. Winans for his sculpture, An American Trotter.
The 1948 Summer Olympics in London marked the final year for the Olympic art competitions. The juried competitions ended because the participating artists were considered to be professionals, while Olympic athletes were required to be amateurs.
Although the medal events were abandoned, the Olympic Games still have an artistic component today through the Cultural Olympiad. This summer’s Games include extensive cultural offerings across the British Isles with the London 2012 Festival. Spectators at the games will also find themselves surrounded by art of all kinds; the Olympic Park has integrated a diverse range of commissioned art pieces into the British architecture and engineering of the Park.
During the day, the letters of Monica Bonvicini’s Run act as mirrors, reflecting visitors and their surroundings. At night, they become transparent and glow thanks to internal LED lights. To view all of the commissioned pieces, visit Art in the Park’s page.
My favorite of the pieces is Julius Popp’s “bit.fall” waterfall installation. Placed under a bridge over the Waterworks River, the waterfall uses a sophisticated pump system that recycles water from the river into the water sculpture.
Using software developed by Popp, the waterfall creates a continuous cascade of words that are widely used in live news feeds. One of the neat things about this technology is that the words are constantly changing. No day is like the last. The end result is a beautiful and spectacular visual experience. To get a better grasp on this work I consulted a short documentary on Popp. See it here on YouTube.
After the Closing Ceremony on August 12, keep the Olympic spirit strong by reading Chris Cleave’s new novel, Gold. The bestselling author of Little Bee, Cleave’s new book focuses on two athletes and how they traverse the shifting sands of ambition, loyalty, and love on the eve of their last Olympics. On Tuesday, October 9, Chris Cleave will be appearing at the Dallas Museum of Art in a special Arts & Letters Live event. For more information and to purchase tickets, please visit our website.
Hayley Dyer is the Audience Relations Coordinator for Programming at the Dallas Museum of Art.
Tags: art conservation, Caravaggio, Dallas Museum of Art, Daniel Silva, Jean Baptiste Marie Pierre, John Constable, Mark Leonard, Maxwell L. Anderson, The Abduction of Europa, Yale Center for British Art
Here at the Dallas Museum of Art, the month of July has turned into a celebration of art conservation. On July 1, Mark Leonard began his tenure at the DMA as Chief Conservator. Mark began his career as a restorer at the Metropolitan Museum of Art before heading west to the J. Paul Getty Museum, where he worked for twenty-six years. This Saturday, in conjunction with an Arts & Letters Live event, Mark will meet visitors in the galleries and discuss upcoming restoration work for Jean Baptiste Marie Pierre’s The Abduction of Europa. At 7:30 p.m., author Daniel Silva will be in conversation with Maxwell L. Anderson, The Eugene McDermott Director of the DMA, discussing his new book, The Fallen Angel. Silva is a celebrated “spy fiction ace,” and is known for his hero, Gabriel Allon. Gabriel has a longtime, on-again off-again relationship with Israel’s secret intelligence service, but he also happens to be one of the world’s finest restorers of old master paintings.
The Dallas Morning News has said that “in Gabriel Allon, Silva has created a credible secret agent with skills that would make James Bond weep.” Our very own Chief Conservator, Mark Leonard, also has a unique perspective that sets him apart from others in his field: He is an artist as well as a conservator.
Mark, as an artist, do you think you approach your work differently than your contemporaries? How has your work as a conservator affected your work as an artist?
Every artist approaches his work differently. By working with great works of art, from the old masters to contemporary artists, I’ve been able to learn from their work. Not every artist gets this opportunity!
Gabriel Allon is an art restorer by day and a spy and assassin by night. Mark, tell us about your night job as a painter.
For a while in my career, working with a brush in my hand every day, conserving someone else’s work was enough for me. About four or five years ago, I became aware that while I loved restoring paintings, it was really a blank panel that I wanted on my easel. In a series of geometric abstractions, I wanted to explore the theme of love and loss. If you have ever loved, you have experienced loss–the two are interwoven. That’s how I began working on this particular motif. In December of this year, an exhibition of my work inspired by John Constable’s “Cloud Studies” will be on display–side-by-side with the Constables–at the Yale Center for British Art.
In Silva’s new novel, Gabriel Allon is sent to the Vatican to restore a Caravaggio masterpiece. Mark, in all of your experiences, can you tell us about a particularly challenging project you’ve worked on?
[He chuckles.] That would have to be a Caravaggio I worked on at the Met. “The Musicians” was heavily damaged. It took about six to eight months to bring it back to life. Restoring a painting could take as little as an afternoon to as long as several years.
What are some of your upcoming plans for the DMA’s collection? Is there any spy work in your near future?
The Museum is very excited about its plans to build a new paintings conservation studio. We are carefully planning for it to include a public space; we want to be able to share the work that we are doing with our visitors. In the meantime, I am planning on spending the next year really getting to know our collection. [He laughs.] I don’t think there is any spy work in my future here. He’ll leave that to Gabriel Allon.
For more information on Saturday’s event with Daniel Silva, please visit our website. For tickets and to register for the tour, call 214-922-1818.
Hayley Dyer is the Audience Relations Coordinator at the Dallas Museum of Art.
Tags: Block Party, Dallas Arts District, Flora Street, Friday, Summer
Hello there! My name is Michele Loftus, and I’m the Marketing Coordinator for The Dallas Arts District. A lot of people don’t know that my organization actually exists, so let me take the opportunity to introduce us. We are an advocacy organization for . . . you guessed it, The Dallas Arts District! Still confused? I’ll put it this way: if you’ve ever eaten at a food truck, ventured out to an artsy block party, or consulted one of our kiosks looking for directions, then you’ve crossed paths with what our organization does. We’re often the ones who close off the streets for late night parties, coordinate the programs, and most importantly, do our best to make it easy for you to be a one-stop shop for all things Dallas Arts District. We bring together all the museums, restaurants, performing arts companies, and venues to promote the neighborhood along Flora Street as a cohesive district. All this being said, we hope you’ll join us for our next big bash, the Summer Block Party, this Friday night from 6:00 p.m. to midnight.
Now in our fourth year of throwing block parties, we’ve had the fortune of attracting more and more people to our neighborhood and educating them on the various offerings of the Dallas Arts District. What’s interesting now though, as observed in our most recent block parties and art crawls, is that people will come not knowing we’re throwing these events in the first place. They’ll stumble upon them for various other reasons: food trucks, a concert at the Winspear, or just driving by. Seeing the streets all lit up with activity, it’s difficult for them to stay away. It’s become something that amazes me every time and is now one of the things I look forward to most when wandering around, sending out my usual tweets, or taking pictures of what’s going on. It’s that curious “So what’s happening over there?” look, and the subsequent “Oh, awesome!” when I tell folks that the museums are open until midnight and send them on their merry way down Flora Street, knowing they’ve caught the buzz of our neighborhood.
Often, I’ve noticed these people are the faithful food truckies who follow their favorites to the ends of the earth, and this time their journey happens to lead to the Arts District. But I’ve also met a fair share of museum-goers who are equally as surprised and excited to find out there’s an entire food court waiting for them just down the street. We even come across people who are members at one institution and have no idea there’s something going on at the others right next door.
This kind of exchange is why we do these events and one of the many reasons we thrive on nights like the Summer Block Party. We’re fortunate to have an arts district that’s all on one street, so we can foster exciting collaborations like these and make it easy for people to stumble upon something new.
To discover something new for yourself, visit us at this Friday’s Summer Block Party. The museums will all be open until midnight. For more information, visit http://thedallasartsdistrict.org.
Michele Loftus is the Marketing Coordinator for The Dallas Arts District