Archive for the 'Collections' Category

Six Centuries Unabridged

Word & Image: Works on Paper from the 15th through 20 Centuries, on view in the DMA’s level 2 European Galleries, focuses on artists who blurred the boundaries between art and text, and uniquely explores this dynamic progression as it developed across Europe for over six centuries. Each of these works, selected from the DMA’s permanent collection, have a rich and diverse history. While many were originally intended as personal objects for private use, others were made for mass production on the open market or for a select group of art connoisseurs. Several of these pieces have not been on view for several years, if ever.

Here’s a close look at a few of the objects on display:

15th-Century German Artist, David and the Ark of the Covenant, page from the Cologne Bible, late 15th century, published in Cologne, Germany, printed by Heinrich Quentell and Bartholomäus von Unckel, hand-colored woodcut on paper, Gift of the Dallas Print Society. 1937.18

What is this page from?
This page was removed from a copy of the Cologne Bible, printed in Germany. The Cologne Bible was one of the most ground-breaking evolutions in book design. We take for granted today that a book may be produced with as many pictures as a writer or publisher desires, scattered however and wherever across the page. In this period, only the upper-class could afford elaborately designed manuscripts. Even these opulent books followed a traditional standard of production with images set either above or below the text, or separated completely on another page. The Cologne Bible shocked viewers with over 100 images that break directly through the text.

How was it made?
Johannes Gutenberg’s printing press lead book production out of the Middle Ages and into the Early Modern era. This page was assembled using individually cast letters and symbols covered with an oil based ink. Its woodcut illustration was created using a relief printing technique, in which a woodblock is carved with a chisel or gouge and inked with a roller. The sunken, cut-away areas received no ink and appeared white in the print. Color was added after the page dried. This addition of pigment also signals the wealth of the patron.

William Hogarth, The Five Orders of the Periwigs, 1761, etching on paper, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. Alfred L. Bromberg, 1984.194.FA

What inspired this work?
In 1748, the antiquarians James Stuart and Nicholas Revett announced that their important work The Antiquities of Athen Measured and Delineated was soon to be published. However, the first volume only made it to press in 1762, with the second appearing around 1789 or 1790. Nearly 40 years after their announcement! Here, Hogarth plays on the annticipation of the long wait for their work, with the opening line “In about Seventeen Years, will be completed” at the bottom. This may have been more lighthearted than really biting, as James Stuart was claimed to keep a copy of the print on a fire screen in his parlor to show visitors.

Who are we looking at?
This complex etching is organized by row based on the five classical orders: Doric, Tuscan, Iconic, Composite, and Corinthian. He arranges the wigs like a display in a shop window with each line corresponding to the five social classes who wore them. Notice at the bottom, there is a sixth additionial order for aristocratic women. The characters wearing the wigs were recognizable individuals, including William Warburton at the very top left turned in profile, Bubb Doginton below him, and the Queen Charlotte and Countess of Northumberland on the bottom line.

Olga Vladimirovna Rozanova, Authors: Alexei Kruchenykh, Velimir Khlebnikov, text and Illustration from A Game in Hell, 1914, Second Edition, published in St. Petersburg, Printed by Svet, Nevski Prospect, 136, lithograph on paper, Dallas Museum of Art, The Art Museum League Fund in honor of Mr. and Mrs. James H. Clark. 1978.75.4

What is it?
This second edition of the Futurist book A Game in Hell is quite different from the first in binding technique, lettering type, illustration, and its further additional 292 verses. A Game in Hell is an extended poem about a card game going on between devils and sinners in hell. Artists Olga Rozanova and Kazmir Malevich collaborated with writers Alexei Kruchenykh and Velimir Khlebnikov to create a completely new work filled with more lively devils and sinister characters. While Malevich did three drawings and the cover, Rozanova dominates the character of the book with over twenty compositions and marginal figures.

What influenced this piece?
During the early 20th century, there was a dominant Russian peasant population, influencing Futurist interests in handmade books and folk-like imagery. The poetics of play and chance manifested in the aesthetics of early Russian avant-garde as a rebellious method of making art without rules. Futurist books were the perfect marriage of physical object and literary expression, which created a true merging of art and word.

Beth CreMeens is the Dedo and Barron Kidd McDermott Graduate Intern for European Art at the DMA

Dancing Queen

Even though all of the art hanging on our walls and that sit behind glass are stationary, it doesn’t mean the subjects were staying still. For our Second Thursdays with a Twist in May, we are letting everyone be a Dancing Queen for the night with dance performances, charades, dance instruction and art making with movement! We were very inspired by the pieces in our collection that are busting a move; check out a few examples below.

This dancer doesn’t need a partner, she’s making moves all by herself:

John Singer Sargent, Study for “The Spanish Dancer”, 1882, Watercolor, Dallas Museum of Art, Foundation for the Arts Collection, gift of Margaret J. and George V. Charlton in memory of Eugene McDermott © Image courtesy Dallas Museum of Art

You can’t talk about dance without including Degas, someone who focused many major paintings on delicate ballerinas:

Edgar Degas, Ballet Dancers on the Stage, 1883, Pastel on paper, Dallas Museum of Art, gift of Mrs. And Mrs. Franklin B. Bartholow, 1986.277

The Divine Dancer in Hindu religion, Shiva dances to the beat of the universe surrounded by the flames of destruction:

Shiva Nataraja, 11th century, Arts of Asia, bronze, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund © Image courtesy Dallas Museum of Art

There are very few sculptures that look like they are having as much fun as this bronze break-dancer:

There are very few sculptures that look like they are having as much fun as this bronze break-dancer.
Joel Shapiro, Untitled, 1981–1984, bronze, Dallas Museum of Art, gift of Exxon Corporation © Joel Shapiro / Artists Rights Society (ARS), New York

You can almost hear the soothing sound of a guitar that’s making this couple sway to the music:

Katie Cooke is Manager of Adult Programs

What’s next in the Quadrant Galleries?

We bid farewell to Edward Steichen’s In Exaltation of Flowers this week. The lavender walls and gold-leafed canvases will go off view on May 13 and the space will be prepped to hold a selection of newly acquired posters from the Guerrilla Girls Portfolio Compleat (opening May 26, more details provided in a future Uncrated post).

Fortunately, two new installations of contemporary art will open the same weekend the Steichen exhibition comes to a close. In the Stoffel Quadrant, eleven large sculptural works will adorn the walls and floor. Lynda Benglis’s Odalisque (Hey, Hey Frankenthaler), a colorful river of poured latex, is representative of the scale and non-traditional materials explored by this selection of artists. Elise Armani, the McDermott Intern for Contemporary Art, chose these works, all of which were created by women whose work resists the crisp geometries associated with the male-dominated Minimalist movement. Instead, Armani wants viewers to recognize the ways each piece interacts with its surrounding and raises questions about the relationship between works of art, physics, anatomy, and psychology. Contemporary culture, environmentalism, and daily routines are critiqued in works by Annette Lawrence and N.Dash. Lawrence draws attention to the proliferation of junk mail and wasted materials by transforming strips of paper into a wall relief. Dash’s blackened, folded paper sculpture is the result of her methodical handiwork aboard the New York subway.

Another group of works by women artists will be on view in the Stoffel Quadrant (formerly home to Yayoi Kusama’s Infinity Room). The installation, Soft Focus, will contain nearly thirty photographs drawn from the DMA’s permanent collection and local lenders. Some images, like Kunie Sugiura’s Central Park 3, broaden the traditional understanding of photography by relying on alternative applications of light sensitive materials. Also included will be an example of Diane Arbus’s iconic approach to portraiture. Other photographers whose works will be on view are women who participated in mainstream art movements but rarely received equal critical acclaim as their male counterparts.

images: Lynda Benglis, Odalisque (Hey, Hey Frankenthaler), 1969, poured pigmented latex, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2003.2 © Lynda Benglis / Licensed by VAGA, New York, NY; Annette Lawrence, Free Paper 12 / 05, 2006–2008, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund 2008.100.A-E © Annette Lawrence; N. Dash, Commuter (New York, 2013), 2013, graphite and paper, Dallas Museum of Art, gift of Bonnie L. Pitman in honor of Deedie Rose and Catherine Rose 2016.63; Kunie Sugiura, Central Park 3, 1971, photo emulsion and acrylic on canvas, Dallas Museum of Art, Lay Family Acquisition Fund 2016.11.1; Diane Arbus, Untitled, 1968, gelatin silver print, Dallas Museum of Art, Polaroid Foundation grant 1975.82 © Estate of Diane Arbus

Emily Schiller is the Head of Interpretation at the DMA

Contemporary Additions

With 93 exhibitors, the 2018 Dallas Art Fair left no dearth of fantastic work to purchase through the Dallas Art Fair Foundation Acquisition program. For the Dallas Art Fair’s 10th anniversary, and the third year the DMA has participated in this exciting partnership, the contemporary collection gained eight new works by seven artists. This year, perhaps more than ever, we are reminded how much representation matters. The curatorial team (Anna Katherine Brodbeck, me, and the McDermott Intern for Contemporary Art Elise Armani), under the leadership of our Director, Agustín Arteaga, used the funds this year to select works that further diversify the contemporary collection. The artists range in age and background as well as the variety of mediums that they use.

Brie Ruais’s large wall-based ceramic was created from the same amount of clay as the artist’s own body weight. In her process-driven practice, Ruais spreads and molds the clay with her hands and feet, marks still evident once the pieces are partially glazed and fired. The DMA’s holdings in contemporary ceramics do not quite reflect the multitude of ceramic work being produced today, and we felt that this work was a striking addition to demonstrate the use of the medium expanded beyond traditional forms.

Brie Ruais, Broken Ground Red (130 lbs of clay spread out from center), 2017. Courtesy of the artist and Albertz Benda [image source: brieruais.com].

In Sanford Biggers’s Sirroco from 2016, the artist repurposes an antique quilt to use as the substrate of this incredible painting. Interested in the inherent geometry and varying textures of the quilts, Biggers references a historical, though unproven, narrative that on the Underground Railroad quilts were used as signposts to guide escaping slaves. Sanford Biggers is a cousin of the painter John Biggers (1924-2001), who is already represented in the DMA’s collection. Acquiring Sanford Biggers’s work provides a great opportunity to explore artistic lineages and make connections between generations.

Sanford Biggers, Sirroco, 2016. Courtesy of Massimo De Carlo Milan | London |Hong Kong [image source: massimodecarlo.com].

This was also the first year we purchased from a local gallery, and we were pleased to select Alicia Henry’s mixed-media work Untitled, 2017, from Liliana Bloch Gallery here in Dallas. In this portrait of a man, Henry uses stitched thread and ink to comment on identity and notions of beauty. Some of the marks appear, hauntingly, like scars and allude to some form of violence previously endured. With this truly powerful work, we further expand our holdings by contemporary African American artists.

Alicia Henry, Untitled, 2017. Courtesy of the artist and Liliana Bloch Gallery [image source: lilianablochgallery.com].

In addition to the works above, we are pleased to have also acquired Matthew Ronay’s sculpture Condition, 2018; Tony Lewis’s drawing Nes, 2018; two gelatin silver prints from Geraldo de Barros’s series Fotoformas Sao Paulo, 1949/2008; and Shara Hughes’s painting Gusto, 2018. It is difficult not to write about every work since they all bring something unique to the conversation. I encourage anyone interested in these acquisitions to visit the gallery websites to learn more about the artists.

Thank you to the generous donors to the Dallas Art Fair Foundation Acquisition program for their time and enthusiasm in making these acquisitions happen!

Chelsea Pierce is the Curatorial Administrative Assistant for Contemporary Art at the DMA.

I Wanna Dance With Somebody

This week the prep team installed a pastel by artist Edgar Degas (1834-1917) in the European Art galleries for a special viewing through April 15. Ballet Dancers on the Stage joins two other pieces by Degas currently on view—a bronze sculpture titled The Masseuse, and a small etching, Dancer on Stage, Taking a Bow. Works on paper like Ballet Dancers on the Stage require long periods of rest in between exhibitions to preserve their light-sensitive materials, so it is always exciting when they go on view.

Edgar Degas, Ballet Dancers on the Stage, 1883, Pastel on paper, Dallas Museum of Art, gift of Mrs. And Mrs. Franklin B. Bartholow, 1986.277

Edgar Degas, The Masseuse, 1896-1911, Bronze, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1965.26.McD

Edgar Degas, Dancer on Stage, Taking a Bow, 1891-1892, Aquatint and soft-ground etching on paper, Dallas Museum of Art, gift of Mrs. And Mrs. Alfred L. Bromberg, 1956.83

Edgar Degas was a French artist working in the second half of the 19th century who has become well-known for his paintings and pastels of ballet dancers. It is important to note that while Degas focused on the subject of ballet for over twenty years, he was interested in depicting many aspects of modern life. The DMA’s collection includes seven works by Degas with subjects ranging from ballerinas and bathers to an opera singer and a masseuse.

Dated 1883, Ballet Dancers on the Stage is a later work that reflects his involvement with the Impressionist group and his interest in Japanese woodblock prints.

Here are a few things to look for when you see the pastel in person:

• Try to count how many complete or partial ballerinas are in this scene and which arms go with each figure. Notice how Degas used brown outlines to define the forms of dancers’ bodies and costumes in the foreground, but he abandoned these outlines in the background and the figures lose clarity. Everything from the pastel’s sketch-like finish, to its varied levels of focus, and its jam-packed composition communicate that this is a fleeting moment of action. Similar to the experience of attending a ballet, we only get the finer details of the dancer who is closest to us.

• It looks like we are viewing the dancers from above and to the right, and within close range. This scene is from the perspective of an abonné or season ticket holder, who would have been seated in a box to the side of the stage. Abonné are supporters of the ballet who Degas sometimes portrayed as men in top hats.

• Notice how Degas has created an asymmetrical composition by tightly grouping the dancers in the upper right section of the paper while leaving the lower left corner open. Beginning in the 1850s Japanese woodblock prints were imported into Europe and they served as inspiration for many artists including Degas. Traditionally, Japanese woodblock artists create asymmetrical, diagonal compositions in which the vantage point off to one side rather than straight on. This 1834 print by Ando Hiroshige, Shono: A Rain Shower, is an example of a 19th-Century Japanese woodblock like those Degas might have seen. Notice the similarities in how these two artists have constructed their scenes.

Edgar Degas, Ballet Dancers on the Stage, 1883, Pastel on paper, Dallas Museum of Art, gift of Mrs. And Mrs. Franklin B. Bartholow, 1986.277
Ando Hiroshige, Shono: A Rain Storm, 1834, Woodblock print, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus, 1984.202.46

• The light source appears to be coming from the bottom left, presumably from gas foot lamps lining the edge of the stage. Notice how the lower left corner is lighter and the areas of the ballerinas’ bodies directly facing that corner have strong highlights.

• Degas was a master at using pastels to layer color. Here he uses the color of the paper as the shading for his figures and layers colors like white, blue, pink and yellow to create depth. His repetition of the color yellow in particular carries your eye through the entire scene.

Don’t miss your chance to see this object in person. It will be on view through April 20 and is included in the Museum’s free general admission.

Jessie Frazier is Manager of Adult Programming at the DMA

Pivotal Women Artists at the DMA

March is Women’s History Month—a designation that was nationally recognized in 1987 due to the hard work of five California-based women who started the National Women’s History Project (NWHP) initiative. Each year, there has been an annual theme, with this year’s being “Nevertheless She Persisted: Honoring Women Who Fight All Forms of Discrimination Against Women.” This month is an opportune time to think about the pivotal women artists and movements that have affected my practice as an art historian and museum educator.

Throughout Western art history, women artists have been under- and misrepresented in the art canon. These problematic biases against women of all racial and class backgrounds have been discussed by artists, art historians, and activists alike. Through collectives like the Combahee River Collective, organized by black and queer feminists, and the Guerrilla Girls, who produce on-going campaigns against male-dominated exhibitions (and many more!), women have fought and continue to fight for their existence to be known in spaces that downplay their contributions to the art world. Though there has been great work done by curators, art historians, and museum institutions to revise history and work toward a more equal representation of artists, there is still a copious amount of work to be done.

The DMA’s collection boasts a number of women artists, such as Julie Mehretu, Yayoi Kusama, Georgia O’Keeffe, Berthe Morisot, and others. Below are a few artists whose work is currently on view in the Museum who made innovative contributions to the art canon and the world at-large.

Bridget Riley, Rise 2, 1970, acrylic on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark, 1976.52.FA,  © 1970 Bridget Riley

Bridget Riley is a foundational artist for Op-Art, a style that transformed geometric shapes into optical illusions in order to create a sense of movement. Riley’s name has become synonymous with Op-Art, as her original black-and-white works gained an incredible amount of followers and multiple art prizes in the early to mid-1960s. In the latter part of the decade, Riley explored using colors in her works of art, like Rise 2, to further add elements of instability and illusionistic movement.

Riley’s works of art inspired and infiltrated 1960s pop culture, most notably the fashion industry with the black-and-white houndstooth checkered print seen in the popular mod aesthetics of the time. Due to Riley’s captivating work and popularity, this fashion trend continues to hold weight, as Vogue highlighted Riley in a editorial titled “Why 60s Op-Art Painter Bridget Riley Is the Secret Muse of the Fall 2014 Runway.” Although her work influenced the style of the 1960s, Riley did not enjoy the commodification and commercialization of her art.

Renee Stout, Fetish #1, 1987, monkey hair, nails, beads, cowrie shells, and coins, Dallas Museum of Art, gift of Roslyn and Brooks Fitch, Gary Houston, Pamela Ice, Sharon and Lazette Jackson, Maureen McKenna, Aaronetta and Joseph Pierce, Matilda and Hugh Robinson, and Rosalyn Story in honor of Virginia Wardlaw, 1989.128, © Renee Stout, Washington, D.C.

Renee Stout’s move to Washington, DC, in 1985 had a monumental affect on her artistic practice as she sought to understand her identity as a Black-American woman. Her time in DC exposed her to the arts of Western and Central Africa, particularly the Kongo peoples’ nkisi nkondi power figures, an example of which is on view in our African galleries. Through these healing power figures, Stout explores the ritualistic and spiritualistic sides of a possible ancestral tie to the African continent, as seen in Fetish #1. Within this object there are many additive and textural components, as there are with nkisi nkondi figures; however, Stout’s object lacks facial features, adding a mysterious quality that mirrors her feelings toward her personal ancestral past. Click here to learn more about Stout and this work of art in one of the DMA’s Gallery Talks.

Raquel Forner, Apocalypsis, 1955, oil on composition board, Dallas Museum of Art, Dallas Art Association Purchase, 1959.47

Although born in Buenos Aires, Raquel Forner spent a majority of her childhood in Spain due to her father’s Spanish heritage. During this time, Forner became interested in the arts and began training back in her birth city. While briefly teaching at the National Academy of Fine Arts in Buenos Aires, she exhibited across the city, with her first solo show in 1928. After traveling back and forth between Europe and South America in the 1930s, she started to borrow ideas from the Surrealism movement, such as distorted perspectives and figures; however, Forner was not interested in interpreting her dreams like Surrealist artists—she wanted to apply these distorted forms to real world situations such as the 1936 Spanish Civil War and the 1955 Argentine social uprisings. The latter event influenced her Apocalypse painting, where she created abstract land forms and overlapping movement of figures to highlight the confusion and negative aspects human conflict creates. This painting was exhibited in the landmark 1959 exhibition South American Art Today at the Dallas Museum of Fine Arts, the predecessor of the DMA. Fifteen works of art from the exhibition were later purchased by the DMA, and nine of those works can currently be seen in the Latin American Gallery, including Forner’s Apocalypse.

Yohanna Tesfai is the McDermott Graduate Intern for Gallery and Community Teaching at the DMA.

Black History Month

“Seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.” —President Gerald Ford, on the official recognition of Black History Month in 1976

February 1 marks the beginning of Black History Month, an annual celebration of achievements by African Americans and a season for reflecting on their major role in our nation’s history.  Numerous works by important African American artists are on view in the Museum’s free collection galleries.

We invite you to take time this month to celebrate and honor these individuals and so many others:

Jack Whitten, Slip Zone, 1971, acrylic on canvas, The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund, 2010.26.1, © Jack Whitten

Jack Whitten was beloved by all who met him and admired far and wide for his innovative techniques. He created Slip Zone during a pivotal period of experimentation. In this work, he abandoned handmade gesture and brushstroke; instead, paint and canvas were “processed” through a technique using large paint-filled troughs through which he dragged the canvas, with sticks, rakes, and Afro-combs used to create surface texture.

While in college, Whitten participated in Civil Rights protests in the South until increasing violence led him north. While his artwork was celestial, it also expressed a distinctly Afrocentric narrative inspired by the Civil Rights movement and jazz. In 2016 he was awarded a National Medal of Arts by President Barack Obama.

Melvin Edwards, Machete for Gregory, 1974, welded steel, barbed wire, and chain, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2015.17, © Melvin Edwards

Melvin Edwards, a native Texan, was born in Houston in 1937. He is regarded as  a pioneer in the history of contemporary African American art and sculpture. In 1970 he became the first African American sculptor to have works presented in a solo exhibition at the Whitney Museum of American Art in New York City. He was awarded a National Endowment for the Visual Arts Fellow­ship in 1971 and a John Simon Guggenheim Memorial Foundation award in 1975.

Renee Stout, Fetish #2, 1988, mixed media (plaster body cast), Dallas Museum of Art, Metropolitan Life Foundation Purchase Grant, 1989.27, © Renee Stout, Washington, D.C.

Renee Stout uses her art to explore her African American heritage. She finds inspiration through the African diaspora and her life experiences, and creates works that encourage self-empowerment and healing, harnessing the belief systems of African peoples and their descendants. Among her many accolades are The Louis Comfort Tiffany Foundation Award, The Pollock Krasner Foundation Award, and the Mayor’s Art Award (Washington, DC).

Kermit Oliver, Autoritratto, 1993, acrylic on paper, Dallas Museum of Art, The Barrett Collection, Dallas, Texas, 2007.53.34, © Kermit Oliver

Kermit Oliver, who was a US Postal Service mail sorter by night and a painter by day, was named the Texas State Artist for 2017. Oliver designed 17 highly prized scarves for the French fashion house Hermes. The humble artist now resides in Waco, Texas, while his works are exhibited in places like the new National Museum of African American History and Culture in Washington, DC.

 

Julie Henley is the Communication and Marketing Coordinator at the DMA.

 


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