Twenty-five works from the celebrated Rose-Asenbaum Collection of modern and contemporary jewelry are now on view, and included in free general admission, in the Museum’s Tower Gallery exhibition Form/Unformed: Design from 1960 to the Present. The collection includes over 700 pieces of modern studio jewelry created by more than 150 acclaimed artists from Europe and around the world. Take time to “ooh” and “ahh” over these magnificent bracelets, brooches, necklaces, and more.
Archive for the 'Curatorial' Category
Tags: Dallas Museum of Art, DMA, jewelry, Rose-Asenbaum Collection
Tags: Dallas Museum of Art, DMA, N S Harsha
Indian artist N S Harsha recently completed his first U.S. museum solo show, a mural commissioned by the DMA. This 120-foot wall painting is on view through February 21, 2016, in the Museum’s Concourse between the Barrel Vault and Fleischner Courtyard. Below is the completed project as well as the mural in progress. When asked about his feelings on his work being painted over and “lost” after the completion of the exhibition, Harsha replied, “The physicality disappears but the work is etched into the minds of people,” adding that he was happy to leave the space clean for the next artist.
Tags: 1920s, Dallas Museum of Art, DMA, Gerald Murphy, International Pop, Liza Klaussmann, Sara Murphy, Texas Gypsies
Celebrate artist Gerald Murphy and the Roaring ‘20s on Thursday, August 13, at the DMA’s French Riviera Fête!
In 1921, Gerald Murphy, his wife, Sara, and their three children set sail from New York to France. Their house, Villa America on the coast of Antibes on the French Riviera, became the site of legendary parties and the hub of an illustrious social circle that included expatriates F. Scott and Zelda Fitzgerald, Pablo Picasso, Ernest Hemingway, Cole Porter, and many others. (Gerald and Sara were the real-life inspirations for Fitzgerald’s novel Tender Is the Night.) There, in their oasis by the sea, the Murphys entertained their friends with flamboyant beach parties, fiery debates over the newest ideas, and dinners beneath the stars.
On August 13, we’re having a French Riviera Fête of our own! Kick off the evening with jazz music by the Texas Gypsies and bring your dance partner. Come dressed in 1920s attire or borrow some of our props and take a selfie in our Murphy-inspired photo booth. Sip the featured cocktail (Gerald’s own recipe for “Juice of a Few Flowers”), and take tours of art by Murphy and those who inspired him.
Gerald Murphy only painted for seven years, and only eight of his fifteen known canvases survive today. The DMA is fortunate to own two of those surviving works: Watch and Razor. Murphy gave them directly to the Museum out of gratitude for the role its curator Douglas McAgy played in reviving his reputation as an important artist.
In 2008, the DMA hosted the exhibition Making It New about the Murphys; in a review by the New York Times, Murphy was called “the progenitor of Pop Art.” So after learning more about Gerald Murphy on August 13, mark your calendars for our International Pop exhibition opening in October.
As part of this celebration, Arts & Letters Live will feature bestselling author Liza Klaussmann at 8:00 p.m. She will share insights into her new historical novel, Villa America. Pre-order your book and buy tickets to hear her speak. Actors will also do dramatic readings of letters between Gerald, Sara, and their friends. How about bringing your book club to enjoy this festive night together?
Liza Klaussmann has quite the literary pedigree herself—she’s the great-great-great granddaughter of Herman Melville. A former journalist, Klaussmann was born in Brooklyn and spent ten years living in Paris. She currently lives in London.
“Liza Klaussmann’s Villa America is so artful and compassionate that I couldn’t fail to love the Murphys and everyone who fell into their orbit during those Lost Generation years, all of them fascinating and flawed and human. This is a beautifully rendered story.”―Therese Anne Fowler, author of “Z: A Novel of Zelda Fitzgerald”
Want to read more about Sara and Gerald Murphy? I highly recommend these books too:
Amanda Vaill, Everybody Was So Young: Gerald and Sara Murphy, a Lost Generation Love Story, 1998
Linda Patterson Miller, ed., Letters from the Lost Generation: Gerald and Sara Murphy and Friends, 2002
Carolyn Bess is the Director of Programming and Arts & Letters Live at the DMA.
Tags: Dallas Museum of Art, DMA, Paul Claude-Michel Carpentier
Have you ever wondered what museum curators do to relax and unwind at the end of their day? For Olivier Meslay, the DMA’s Associate Director of Curatorial Affairs, one of his favorite things is to look through online versions of auction house and gallery catalogs. What seems like a bit of a “busman’s holiday” worked to our advantage a few months ago.
It all started on a stormy night early last November when he clicked on the website for the Parisian auction house Audap & Mirabaud. On their homepage was the lovely self-portrait by Paul Claude-Michel Carpentier (1787-1877), a lesser-known French painter, sculptor, and engraver who had exhibited at the Salon between 1817 and 1838.
The painting that caught Olivier’s attention is signed and dated 1833, and Carpentier exhibited it at the Salon the following year. For some time, the DMA had been seeking to purchase a large-scale 19th-century Salon portrait, and this one fit the bill. It was to be auctioned in Paris on November 21, and, as it happened, Olivier would be in France on the day of the sale, but not in Paris. Luckily, he had plans to be in the glorious city a few days beforehand and found an occasion to examine the painting.
It was as impressive as he had hoped, and so he registered to bid. The only remaining problem was that at the precise time of the sale he was to be at a conference in a city four hours away. About mid-morning on November 21, he discreetly slipped out of his meeting for a few minutes to bid by telephone on the artwork. To our great fortune, he was the high bidder. All of his maneuverings were worthwhile.
When he returned to Paris a few days later, to his great surprise, he learned from an agent with Audap & Mirabaud that a small, fully realized preliminary drawing of the portrait had become available. He bought it on the spot.
Another exciting aspect of these purchases is that it presented us with an opportunity to learn about Carpentier’s life. One of the most immediate revelations happened shortly after the painting arrived at the DMA. Much to our surprise, we discovered a small slip of paper affixed to the back of the frame. On the very old sheet were handwritten details (in French, of course) about Carpentier; his wife, Adèle; and daughter Clémence.
As our research about Carpentier progressed, we unearthed some very intriguing discoveries. While he was quite active in the Society des Beaux-Arts, advocating for various artistic mutual aid societies, he was also an accomplished theoretician and technician of encaustic painting. The ancient process of adding pigment to melted beeswax, which dates back to antiquity, fascinated Carpentier throughout his lifetime and culminated in his authoring a detailed treatise about the technique that artists still consult today.
Most interestingly, we discovered that one of his closest friends was Louis-Jacques-Mandé Daguerre (1787-1851), the French artist and photographer recognized for inventing the eponymous process of photography. As a testament to their mutual admiration, Carpentier made a painting and bust of his good friend, but more importantly, in 1855 he wrote a monograph about Daguerre that to this day remains the single greatest firsthand contemporary account on the birth of photography.
Knowing more about Carpentier, and turning back to his self-portrait, we see that in it he brought together people and things that held an important place in his life. While we discovered valuable information about the painting and artist, we also learned that we all gain when our Associate Director of Curatorial Affairs relaxes at the end of a busy day by surfing the Web. Visit the newly conserved painting in the DMA’s Level 2 European Art Galleries, included in free general admission, today!
Martha MacLeod is the Assistant to the Associate Director of Curatorial Affairs and Curatorial Administrative Assistant for the European and American Art Department at the DMA.
Tags: Dallas Museum of Art, DMA, Kevin Beasley, Late Nights, Soluna
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.
Visit our Flora Street Entrance and our Sculpture Garden to see vivid outdoor installations representing color, pattern, and movement created by The Color Condition.
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.
Our Lounge @ Founders will tempt all of your taste senses with something salty, sour, sweet, and bitter.
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.
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.
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.
Tags: Dallas Museum of Art, DMA, DMA Friends, European Art, François Auguste Biard, Late Nights, Silent Soundtracks
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!
Sarah Coffey is the Education Coordinator at the DMA.
Tags: Concentrations 59: Mirror Stage- Visualizing the Self After the Internet, Dallas Museum of Art, DMA, Ivan Le Lorraine Albright, Mary Cassatt, mirror, Ryan Trecartin
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.
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?
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.
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).