FAST Times at the DMA

With each new exhibition at the Museum comes a jolt of excitement for our FAST (Family, Access, School, and Teaching programs at the DMA) team. Education programs at the DMA involve both the permanent collection and any special exhibitions, and a new exhibition means opportunities for exciting new lessons. Though our programming won’t focus on the newly opened exhibition Inca: Conquests of the Andes/Los Incas y las conquistas de los Andes until the fall, we can’t help but brainstorm some experiences we might create around the fantastic content inside. Here’s a look at some of the ideas we’ve got flying between our ears:

Family Programs
1
For our littlest learners, from babies to our homeschool kids, we often begin our gallery portion of the program with story time connected to the lesson’s theme. To get thinking about camelids and their importance in Inca life, we’re eyeing one of Anna Dewdney’s Llama Llama books and will then explore objects like the llama-form vessel or llama-head whistle. The focus of the lesson could also be one of the exhibition’s remarkable tunics. We would follow the journey of camelid fibers, which we have on hand for tactile exploration, from their origins on a llama to their ultimate use, being woven into a wonderful piece of clothing. Our youngest visitors will then try their hand at a weaving project in the Museum’s Art Studio.

Access Programs
2

For visitors with special needs, our class might focus on jobs in Inca society. Through an object like the tunic with checkerboard pattern and stepped yoke, we can connect the idea of the Inca soldiers who wore the tunic and the weaving specialists who made it to what we know of modern occupations or memories of jobs our participants had in the past. Different art projects would be appropriate for the two groups: with our visitors with intellectual and developmental disabilities, we might choose our Inca dream job and make wearable tunics for it using materials in the Museum’s Art Studio, and for participants with Alzheimer’s, we might take our time with a weaving project. We like to have a hands-on experience all participants can enjoy.

Go van Gogh
3

Our Go van Gogh community outreach program involves a staff member and volunteers leading programs in classrooms throughout DISD. For an Inca-based program, we would pick 3–4 works to explore around a theme such as “what we wear,” which could include items like the sleeved tunic, poncho with central medallion and double-headed-birds, or four-cornered hat. For a related art project, the students may design their own tunics using some of the geometric patterns or animal imagery we discussed. We always have amazing works of creativity come out of our Go van Gogh groups!

School Tours
4

Most teachers who sign up for school tours want their students to see as much as possible, so our wonderful docents choose highlights from all over the DMA’s expansive collection. Inca might only be one stop on a tour of five or six destinations in the Museum. Docents typically let the interests of the students lead the discussion: are they drawn to textiles or ceramics, ideas of Inca soldiers or animal imagery? Whichever it is, docents would be sure to show contextual images such as a map of the Tahuantinsuyu empire or an illustration of a ruler wearing a tunic. Though the stop is brief, the goal is to teach the students a little bit about another culture, while whetting their appetite so they return for more!

Make sure you take the opportunity to explore Inca: Conquests of the Andes/Los Incas y las conquistas de los Andes before it closes in November. In the meantime, the FAST team will be counting the days until we can explore the exhibition with our many audiences!

Liz Bola is the McDermott Graduate Education Intern for Gallery and Community Teaching and Jennifer Sheppard is the McDermott Education Intern for Family and Access Teaching at the DMA.

Communicating in Quechua

INCA

Months. It took literally months during the summer of 2014 to decide on the orthography (the correct spelling/writing) for the exhibition Inca: Conquests of the Andes/Los Incas y las conquistas de los Andes, which opened Friday. For example, should the Museum use “Inca” or “Inka,” among other spelling differences that would emerge in the exhibition texts. Many factors weighed into my decision, from popular recognition to modern linguistics, from consistency in labels to proper pronunciation. For the first few months of the exhibition project, I solicited the opinions of many individuals about the issue—from leading pre-Columbian linguists to Inca archaeologists to fellow curators, and even friends and family. I read the most recent publications, edited volumes, scholarly monographs, and online blogs to ascertain the most current opinions. Indeed, I researched, inquired, and deliberated so long that there was general confusion around the DMA itself about the final decision for months after I had finally settled on a position. Mea culpa; thank you to everyone for their kind patience. And I appreciate the generous input from many colleagues on an issue that elicits deep passion and strong opinions from scholars across disciplines.

Quipu (Khipu) fragment with subsidiary cords/Quipu (khipu) parcial con cuerdas afiliadas, Perú: Andean highlands or coast, Inca (Inka) culture, A.D. 1400–1570, cotton and indigo dye, Dallas Museum of Art, the Nora and John Wise Collection, bequest of John Wise, 1983.W.2174

Quipu (Khipu) fragment with subsidiary cords/Quipu (khipu) parcial con cuerdas afiliadas, Peru, Andean highlands or coast, Inca (Inka) culture, A.D. 1400–1570, cotton and indigo dye, Dallas Museum of Art, the Nora and John Wise Collection, bequest of John Wise, 1983.W.2174

The central issue is this: What is the ideal manner—in a US public exhibition context—for writing words from Runasimi, or Quechua, the language used as a lingua franca by the Inca state system and spoken today by many Andean peoples. Prior to the Spanish arrival in the 1530s, the Andean populations did not utilize a recognizable written script, one that the Spanish acknowledged and transcribed into a phonetic alphabet, as certain Spanish chroniclers attempted in New Spain (modern Mexico and Guatemala) with Mayan and Nahua languages. The Andean knotted cords, or quipu (khipu), that recorded information were documented by certain chroniclers in South America, who noted that the quipu were used to register taxes and census data, among other information. The individual Spanish chroniclers further documented Quechua words in the phonetic alphabet and according to Spanish pronunciation, with variant spellings. Certain spellings gained in pronunciation, popular recognition, and adoption into English.

Since the mid-20th century, there have been great efforts to revise the orthography of Andean languages, in particular Runasimi (Quechua), with laws passed in Peru during the late 1970s and early 1980s. The revised orthographies introduced changes such as the reduction from a five-vowel alphabet to a three-vowel system for Quechua. Modern linguists, such as the Peruvian scholar Ramon Cerrón-Palomino, have provided welcome standards for ongoing publication in Inca and Andean studies.

Four-cornered hat/Gorro de cuatro puntas, Peru: south-central highlands or coast, Huari (Wari) culture, A.D. 700–900, camelid fiber, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison, 1976.W.2013

Four-cornered hat/Gorro de cuatro puntas, Peru, south-central highlands or coast, Huari (Wari) culture, A.D. 700–900, camelid fiber, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison, 1976.W.2013

As an Andean scholar, I had actively used many revised spellings in teaching and coursework, as well as in a recent 2013 exhibition, Between Mountains and Sea: Arts of the Ancient Andes, at the Blanton Museum of Art in Austin, Texas. Upon joining the DMA, I had further standardized the terms within the Museum’s database, emphasizing the revised spellings of Wari (for Huari), Tiwanaku (for Tiahuanaco) and Inka (for Inca). With specialization in the cultures of the Formative Period and the north coast of Peru, I confess to addressing only superficially the issue of orthography prior to the DMA exhibition. The spellings of the Cupisnique, Moche, and Chimú—the successive north coast cultures—have remained relatively constant. So I had adopted the basic premise that to utilize the new Quechua spellings was to honor indigenous rights, which aligns well with my role as a researcher of Andean cultural heritage.

Through the months I spent researching, however, the issue became less black and white for this context; it came to include various factors regarding public recognition and spelling consistency through the exhibition design. In the end, the decision to maintain historical spellings as the primary terms in the Inca exhibition likewise presented the wonderful opportunity to introduce an audience to corresponding Quechua spellings. The exhibition Inca: Conquests of the Andes/Los Incas y las conquistas de los Andes thus features not only English and Spanish text but also dual spellings for most Quechua terms. A wall panel explaining the chosen orthography opens the exhibition, providing viewers with an opportunity to consider the complex ways language records, reflects, and defines a historical culture.

Kimberly L. Jones, PhD, is The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas at the DMA.

Stir Your Senses

For Friday’s Late Night, we wanted to make sure we engaged all of the senses, giving visitors an immersive experience at the DMA. There will be many programs to stir your senses of sight, sound, taste, smell, and touch.

To tempt you to stay out late, I have highlighted one program for each of the five senses.

SIGHT

Visit our Flora Street Entrance and our Sculpture Garden to see vivid outdoor installations representing color, pattern, and movement created by The Color Condition.

Color Condition 2

SOUND

Experience the physicality of sound with a newly commissioned performance by New York artist Kevin Beasley. BLACK ROCKER will premiere at the DMA as part of the inaugural SOLUNA festival.

Kevin Beasley

TASTE

Our Lounge @ Founders will tempt all of your taste senses with something salty, sour, sweet, and bitter.

Founders 2

SMELL

Families can stop by the exhibition Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga and check out a Sensory Art-to-Go Family Tote Bag. The tote bags are filled with a variety of activities, such as imagining how a work of art would smell and then writing a poem about it.

Tote Bags

TOUCH

While you can’t touch the art, you can stop by the Art Spot in the Center for Creative Connections and make your own work of art using a variety of materials.

Art Spot 2

We hope you’ll join us on Friday to see what else is in store!

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

Sound Waves

We have plenty in store to stimulate your senses during this Friday’s Late Night, and one program in particular is sure to hit the right note. As part of a special DMA Friends reward, DMA Friend Kyle West has created a soundtrack for our European collection on Level 2 that you’ll be able to enjoy that night. To whet your appetite, listen to this lively jig he paired with Seasickness on an English Corvette. We hope to see you Friday to hear the rest!

François Auguste Biard, Seasickness on an English Corvette (Le mal de mer, au bal, abord d'une corvette Anglaise), 1857, oil on canvas, Dallas Museum of Art, gift of J.E.R. Chilton 2011.27

François Auguste Biard, Seasickness on an English Corvette, 1857, oil on canvas, Dallas Museum of Art, gift of J. E. R. Chilton, 2011.27

Sarah Coffey is the Education Coordinator at the DMA.

Mirror, Mirror on the Wall

Mirror engraved with flute-player, Etruscan, late 5th-early 4th century B.C, bronze, Dallas Museum of Art, Dallas Art Association purchase, Edwin J. Kiest Memorial Fund 1966.7

Mirror engraved with flute-player, Etruscan, late 5th-early 4th century B.C,, bronze, Dallas Museum of Art, Dallas Art Association purchase, Edwin J. Kiest Memorial Fund, 1966.7

Mirrors were present throughout different ancient civilizations such as the Egyptian, Greek, and Etruscan, and were luxury items primarily associated with women. Additionally, a mirror was an object of profound symbolic significance, as it was considered to be a receptacle for the soul of the person whose image was reflected on its surface. The Etruscan word hinthial means both “soul” and “reflected image.” This dual concept relates to the ancient Egyptian word ankh, which means “life,” but also denotes the image of a mirror. In relation to the idea of life, many mirrors have been retrieved from the graves of Etruscan women, indicating both their desire to take earthly possessions of value into the next world and their need to not leave behind the device that contained their souls.

Mary Cassatt, Woman with Mirror, n.d., ink, paper, etching, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg 2000.255.FA

Mary Cassatt, Woman with Mirror, n.d., etching, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg, 2000.255.FA

In the 19th century, women and mirrors were painted frequently by the French impressionists. Mary Cassatt, an American expatriate artist, used them as a possible motif for the vanity of women and the pleasure received when looking at one’s own reflection. Simultaneously, the viewer’s passive activity turns into an active interpretation of “reality” based on the power of paintings to construct reality. Such issues raise open-ended questions around the topics of female empowerment and physical subjugation: Are female subjects denied their own agency when viewed by an oppressive male gaze? Or do they become autonomous beings that exert physical potency and awareness by deliberately looking into their own selves?

Ivan Le Lorraine Albright, Into the World Came a Soul Called Ida, c. 1929, lithograph, Dallas Museum of Art, Dallas Art Association Purchase 1947.18

Ivan Le Lorraine Albright, Into the World Came a Soul Called Ida, c. 1929, lithograph, Dallas Museum of Art, Dallas Art Association Purchase, 1947.18

With the advent of modernity, critical philosophers and thinkers developed new theoretical forms to describe psychoanalytic experience during the 20th century. Most notably, French psychoanalyst Jacques Lacan is attributed with the concept of the “mirror stage.” This theory proposes that human infants go through a stage in which an external image of the body (reflected in a mirror, or represented to the infant through the mother or primary caregiver) produces a psychic response that gives rise to the mental representation of an “I.” Such precarious observations begin to interrogate the ideas of “self,” “self-identity,” and the “ego” at an early stage of life. This brings into discussion the notion of “reality” and the existential gestalt that relates to elements that correspond to individual experience and personal being.

Ryan Trecartin, (Tommy-Chat Just E-mailed Me), 2006, video, Courtesy of Andrea Rosen Gallery, © New York Ryan Trecartin

Ryan Trecartin, (Tommy-Chat Just E-mailed Me), 2006, video, Courtesy of Andrea Rosen Gallery, © New York Ryan Trecartin

On view through December 6, 2015, and included in free general admission, Concentrations 59: Mirror Stage— Visualizing the Self After the Internet explores themes of personal identity and “self” in the 21st century cyberworld. Consisting of eight different contemporary multimedia artists, Mirror Stage encapsulates the heterogeneous nature of visual Internet culture and its complex development since the dot-com era. Ryan Trecartin’s (Tommy-Chat Just E-mailed Me) (2006) is situated on the inside and outer liminal space of an e-mail conversation as it emphasizes the paradoxical role of online communication as a unifying digital tool, while revealing the effect of an impending, manic social isolation on its users in the offline “real” world.

Historically, mirrors were regarded as a tool for truth and recognition through the reflection of one’s personal appearance. After centuries of being associated with femininity and the female body, the concept of a mirror as a “screen” has drastically changed with the emergence of modern technology. Online Internet resources, including social websites and gaming platforms, have enabled Internet users to create new forms of identity that break with the historical past of mirrors as a conveyor of truth. Are we ready to adopt multiple, complex identities offline in the real world as well as in the online world? What will be the future resources for affirming one’s own personal identity within the (cyber)world? Mirror Stage—Visualizing the Self After the Internet invites the viewer to question, explore, and reflect on the new forms of presenting oneself within the digital age.

 Fabian Leyva-Barragan is the McDermott Curatorial Intern for Contemporary Art at the DMA.

Sources: de Grummond, N. T., ed. A Guide to Etruscan Mirrors, Tallahassee, Fla: Archaeological News, 1982; Lacan, Jacques. “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience.” Écrits: A Selection. Trans. Alan Sheridan (New York: Norton, 1977).

Ruby Anniversary

AnneBromberg_DocentTraining_1985_001
Dr. Anne Bromberg, The Cecil and Ida Green Curator of Ancient and Asian Art at the DMA, is celebrating forty years at the Museum this year. Anne began her time at the Museum in 1975, when the building was located in Fair Park and we still went by the name Dallas Museum of Fine Arts. Over the course of her career, she has served under six Museum directors—Harry Parker, Rick Brettell, Jay Gates, Jack Lane, Bonnie Pitman, and Max Anderson; seen building moves and expansions; acted as curator on some of the Museum’s most popular exhibitions; and entertained visitors with her exciting and lively talks and tours. Anne’s husband, Alan Bromberg, and his family, notably his mother, Juanita (Cookie) Bromberg, always supported her career and the Museum throughout her years of service. Last week, DMA staff, friends, and former colleagues came together to celebrate Anne’s remarkable and colorful career with the DMA.


3

 

Kimberly Daniell is the Manager of Communications and Public Affairs at the DMA.

You Know You’re a Museum Mom If….

Over the years I’ve had the chance to see children grow up right before my eyes as they’ve attended classes at the DMA. They may solemnly gaze at me from their strollers in Art Babies, toddle around with their binkies in Toddler Art, and then proudly graduate to the “big kid” art classes before confidently marching off to kindergarten. I’ve also had the opportunity to get to know many amazing moms in the community. They push strollers, wrangle kids, balance wet paintings on their arms, and cheerfully champion their children’s creativity. In honor of Mother’s Day, here are just a few of the things we love about Museum Moms!

Mothers Day 1

Fun is often messy. Museum moms aren’t afraid of messes—even big ones! We’ve challenged children to paint with their feet, create dripping, gluey sculptures, and blow colorful paint bubbles onto paper. To say that we sometimes get messy in the Art Studio is a bit of an understatement. But our DMA moms are always enthusiastic, encouraging their children to try something new and to not let sticky fingers hold them back. As we’ve conducted fun painting experiments in the studio over the past few months, I’ve watched children gaze at their moms in wonder as they strip off their shoes and socks, push up their sleeves, and dive into some serious action painting.

Mothers Day 2

Sometimes you just need to shout! We hope that every child finds his or her own unique voice, and through our family classes, we do our best to give children opportunities to share those voices. Museum Moms value what their children think and wonder about art, and often let them lead the way in talking about what they see. In a recent Art Babies class, caregivers pulled their little ones across the floor on colorful fabric to mimic the sensation of paint gliding across a canvas. Amidst the giggles and smiles, one baby accidentally discovered the wonderful echo she could make in the galleries. A comical shrieking match quickly broke out as other babies realized they could make their own echoes too, and the gallery was soon filled with high-pitched, delighted squeals. Rather than frantically shushing their children, these wise moms simply reveled in the display of spontaneous joy that came from children making discoveries in an inspiring place (and took advantage of the fact that there were no other visitors in the gallery).

Mothers Day 3

Being present is the best present. We’re all about family togetherness here at the DMA, so when we’re sketching in the galleries or posing like a statue, more often than not, the grown-ups are right alongside their child, busily engaged in a class activity. Museum Moms know that their children watch everything they do, and that the best way to raise a creative child is for children to see you nurturing your own creativity. In a preschool class several years ago, I asked a group of three and four year olds who some of their heroes were. Lili piped up immediately and said, “My mom is my art hero because she watches while I paint.” When we’re busy creating in the Art Studio, I always have at least one or two children who inform me that their masterpieces are “for my mom.” Museum Moms are some of the very best at creating lasting memories for their families and giving the gift of their presence.

To all the moms out there, thank you for all you do! Happy Mother’s Day!

Leah Hanson is the Manager of Early Learning Programs at the DMA.


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,031 other followers

Twitter Updates

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

Flickr Photo Stream

More Photos

Follow

Get every new post delivered to your Inbox.

Join 1,031 other followers