Posts Tagged 'sculpture'

Five, Six, Seven, Eight

Chagall: Beyond Color opens on Sunday, February 17, and the highlight of the exhibition is sure to be the costumes designed by Chagall in 1942 for the production of the ballet Aleko. The ballet’s première took place in September 1942 in Mexico City, followed by the Ballet Theatre of New York production, and the costumes have not been seen in the U.S. since. Recently, DMA staff whipped out their jazz hands and did their best mannequin impersonations to assist in the installation of the Aleko costumes.

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Seldom Scene: Karla Black at the DMA

Scottish artist Karla Black will open her first solo project at a U.S. museum this Friday at the DMA. For Karla Black: Concentrations 55, the artist has created two sculptures for the DMA’s Hoffman Gallery and South Concourse. See images from the installation process below, and meet Black and see her work at our Late Night this Friday. She will discuss her exhibition at 7:00 p.m. in the Hoffman Gallery.

Facing Off

Our exhibition Face to Face: International Art at the DMA is composed of never before seen pairs of objects drawn straight from the Museum’s collection. They are joined across cultures, great distances, and centuries of time to present an entirely new way to experience and celebrate a collection that is thrillingly diverse and over one hundred years in the making.

David Smith’s Cubi XVII and Aristide Maillol’s Flora

Organizing Face to Face required the collaboration of every member of our curatorial staff. Dr. Anne Bromberg, our curator of Ancient and Asian Art, spearheaded its sprawling course, spending weeks and weeks stalking the galleries, storage areas, and even her own colleagues to negotiate across departmental divides and ensure that what came to fruition was groundbreaking.

The result is a rare chance to see some of our “greatest hits” in lively and entirely new contexts. Visitors are welcome to speculate for themselves upon the many ways paired works might be related. I expect there are no right or wrong answers to these investigations, and that the discoveries one can have touring Face to Face are essentially limitless.

Peruvian Panel and Ellsworth Kelly’s Sanary

This is the first pair to welcome you to the exhibition. The composition of both works relied upon geometry and the stunning experience of pure color. The ceremonial textile from the Huari culture of Peru is beautifully composed of hundreds of blue and yellow macaw feathers—the yellow offering soft complement to the naturally iridescent shimmering of the blue.

Sanary, by American artist Ellsworth Kelly, presents a more complex pattern created from recycled paintings. No two colored squares repeat side by side, and like the feather panel, their summation elicits an explosive though carefully controlled punch of pure color. Their paired visual impact must be seen to be believed.

Egyptian mummy mask and Amedeo Modigliani’s Portrait of a Young Woman

Of all the pairings, Dr. Bromberg has said this one raised the most eyebrows among her colleagues, but after placing them side by side for the first time during installation, it became clear that though derived from wholly different civilizations and made for completely different purposes, they were easily relatable as unique expressions of the very human desire to immortalize beauty through portraiture.

Male figure from Nigeria and Naum Gabo’s Constructed Head No. 2

There’s much to be learned—things you may never have noticed before until you’re faced with this unique installation. This pair in particular enables audiences to reflect upon decisions the artists made in depicting their subjects abstractly. One might spend hours ruminating over their own visceral reactions to their striking features.

Eugène Delacroix’s Portrait of a Woman in a Blue Turban and Standing femail figure from the Democratic Republic of the Congo

Our Exhibition Design Coordinator, Jessica Harden, worked closely with Dr. Bromberg to create specific lighting, color, and spatial treatments for every pair in Face to Face. Its dynamic installation highlights the need to take one’s time in the exhibition. Here each artwork can be appreciated more intimately on its own terms.

This is particularly true with the pairing of Eugène Delacroix’s Portrait of a Woman in a Blue Turban and the standing female figure from the Luba peoples of Africa. Lengthy meditations over the artists distinct but relatable choices in depicting their subject’s tranquil and quintessentially feminine beauty are highly encouraged.

An entire case in Face to Face is dedicated to things that sparkle! And here it’s true that not all that glitters is literally gold. The DMA maintains a strong collection of decorative, functional, and ceremonial objects fashioned from precious materials by a variety of cultures for an even greater variety of reasons.

Shiva Nataraja from India and The Dharmapala Vajrabhairava from Tibet

Face to Face’s broad representation (albeit in a small space) of the DMA’s expansive, internationally renowned collection is inspiring. The exhibition not only draws our attention to the mysterious nature of creating and studying art but also to that lesser realized art form of building a collection.

While exploring any museum, it’s easy to forget that a collection is built by people, and at the DMA these people have for over a century now nursed a vision that not only tells the history of art but also the story of our great museum.

Auriel Garza is the Curatorial Assistant for Ancient Art, Non-Western Art, and Decorative Arts & Design at the Dallas Museum of Art.

How to Install a 27-Foot Sculpture

The installation of James Lee Byars’s Figure of Death was caught on camera last week in preparation for the exhibition, Silence and Time, which opens this Sunday, May 29, in the Barrel Vault and Quadrant Galleries.

James Lee Byars, The Figure of Death, 1986, basalt (ten pieces), Private Collection, Dallas, TX, © James Lee Byars

Video by Ted Forbes, Multimedia Producer at the Dallas Museum of Art

Seldom Scene: Moving 1.7 tons

Silence and Time opens on Sunday, but weeks ago we started moving in several heavy sculptures. Below are images of the journey Bojan Šarčević’s She (1.7 ton onyx sculpture) made to the Barrel Vault. Stay tuned for more updates.

Photography by Adam Gingrich, Marketing Assistant at the Dallas Museum of Art

Acquiring Minds

Bojan Šarčević, "She," 2010, onyx, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, 2011.4, © Bojan Šarčević, courtesy of the artist and STUART SHAVE/MODERN ART

We’d like to introduce you to She, a sculpture by Bojan Šarčević that will make its DMA debut on May 29 in the Silence and Time contemporary art exhibition. And “she” is a recent acquisition. So that got us thinking: how do works of art enter the Museum’s collections?  We spoke with Carol Griffin, our Associate  Registrar and the Museum’s point person on the acquisition process, to get some answers.

To begin, DMA curators look specifically for objects based on aesthetic quality, ability to be exhibited, potential for research and scholarship, and relevance to the Museum’s mission and current holdings. They are always searching for works of art to fill certain “gaps” or to complement works that are already in our collections. They find these objects by talking to knowledgeable collectors and art dealers, visiting galleries, and attending art auctions and fairs. Not all acquisitions are purchases, she points out. A significant number of works are acquired by gift and bequest. In many of these cases, curators actively seek the objects; in others, donors serendipitously initiate the offer.

But when a curator has ID-ed something for potential acquisition, he or she will discuss the opportunity with colleagues and advisors, including fellow DMA curators, trustees, and, of course, the Director. Certain works must be examined by a conservator and, perhaps, other experts to verify condition or authenticity. Once these people have signed off, the curator presents a proposal about the work to the Museum’s Committee on Collections, which is made up of trustees and members of the community and meets several times a year. The committee takes into consideration opportunities to strengthen the DMA’s collections, and its members discuss potential issues like storage and maintenance for the proposed works. The artworks under consideration are present at each meeting so that the Committee can see them rather than make judgments based on photographs. Only after all of these steps are completed can a work of art be acquired by the Museum.

Next up, in order for each object to travel to the Museum and be housed safely, the DMA’s team of registrars develops a plan to address logistics—including crating, transportation, insurance, and storage, and dealing with customs regulations if a work is coming from overseas. Each crate is usually custom made, with special material precautions, to best protect an individual object. For example, an ancient marble sculpture needs different packaging than a quilt, a wooden mask, or a painting. Once the work of art arrives at the DMA, our registrars and conservator thoroughly examine its condition, making notes and taking photos to document its present state. The artwork is then catalogued with an acquisition number based on the year and the order in which it was acquired, and a file is created for relevant information and research about the object. Some of this information is included on the label that accompanies a work of art in the galleries and can also be found in the Collections section of the DMA website.

So, what else has the Museum purchased recently? Next time you visit, look for Gustav Stickley’s linen chest from 1903 (currently featured in the exhibition Gustav Stickley and the American Arts & Crafts Movement), which was acquired by the Museum in 2008. In the European galleries, check out the painting Chestnut Trees by Edouard Vuillard, acquired in 2010, and on Level 3, see the gold linguist’s staff (okyeame poma) in our African galleries, which was also acquired in 2010.

Linen chest, Gustav Stickley, attributed to John Seidemann, maker, United Crafts or Craftsman Workshops, manufacturer, Eastwood, New York, 1903, oak and iron, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., facilitated by American Decorative Art 1900 Foundation, 2008.22.McD

Edouard Vuillard, "Chestnut Trees, a Cartoon for a Tiffany Stained-Glass Window," 1894–95, glue-based distemper on cardboard, mounted on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, 2010.15.McD

Linguist staff ("okyeame poma") (detail), Ghana, Asante peoples, first half of 20th century, wood and gold leaf, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2010.1.McD

Stefanie Kae Dlugosz is the McDermott Curatorial Intern for Decorative Arts and Jacqueline Lincoln is the McDermott Education Intern for Family Experiences.

Seldom Scene: A Fond Farewell to Dorothy Austin

Texas sculptor Dorothy Austin passed away last week at the age of 100. Her work Slow Shuffle was featured in the 2009 Dallas Museum of Art exhibition All the World’s a Stage: Celebrating Performance in the Visual Arts, and this past year her sculptures Noggin and Male Torso were included in the exhibition Texas Sculpture. We were fortunate to have Dorothy Austin visit us in October 2009 with her family and wanted to share those memories with you.

Sculptor Dorothy Austin with her family on a visit to the DMA in October 2009.

Dorothy Austin and DMA Senior Curator Olivier Meslay

Dorothy Austin, Noggin, 1933, white pine, Dallas Museum of Art, gift of an anonymous friend

Dorothy Austin, Male Torso, late 1930s-early 1940s, white pine, Dallas Museum of Art, gift of Dr. and Mrs. Robert W. Webb

Dorothy Austin, Slow Shuffle, 1939, carved plaster, Dallas Museum of Art, Texas Art Fund and Early Texas Art Fund


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