Archive for the 'Curatorial' Category

Ten Questions with Three Artists

Throughout the summer, the Quadrant Galleries on Level 1 will feature two exhibitions drawn from the Contemporary art collection: Soft Focus and Body Ego. Four of the artists included in these installations call the DFW area home, and each Saturday in July at 3:00 p.m. one of the artists will give a free talk about the work she has on view. Last week Denton-based artist Annette Lawrence joined us to speak about her fascinating Free Paper series and how she uses drawing, collecting, and data to create objects that measure the passage of time.

This week, we’ll hear from photographer Debora Hunter, followed by artists Linda Ridgway and Frances Bagley later this month. Before they arrive, we had some burning questions for these artists about their lives and their work. Here’s what they had to say:

Debora Hunter

Hunter is a Dallas-based photographer and Professor Emerita of Art at Southern Methodist University. In 2016 she was the honoree of the Dallas Art Fair. Aside from the DMA’s collection, Hunter’s work is included in the permanent collections of the Art Institute of Chicago, High Museum of Art, Corcoran Museum of Art, Museum of Fine Arts, Houston, Amon Carter Museum of American Art, Yale University Art Museum, University of New Mexico Museum, Wesleyan University Art Museum, Rhode Island School of Design Art Museum, Creative Photography Laboratory of Massachusetts Institute of Technology, Louisiana Art and Science Center, and Dallas Area Rapid Transit.

Debora Hunter, Floral Spine, 1975, photograph, Dallas Museum of Art, Polaroid Foundation grant, 1976.79, © Debora Hunter

Learn more about Hunter’s photograph Floral Spine in the online collection.

If you could take one work of art from the DMA home, what would it be?
What fun to sleep in the Gothic revival bedstead from Rosedown Plantation.

Bed, Crawford Riddell (maker), 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation., 2000.324

What was the first subject you loved to photograph?
The backs of people gazing out to sea.

If you could have coffee with a photographer from the past, who would it be?
Julia Margaret Cameron (1815-1879)—since she is English she would probably want tea.

What do you love most about teaching?
Retiring! (only joking). Actually, working with young people as they discover their interests and talents.

Any advice for young artists out there?
Listen carefully to your inner voice and then work really hard.

What is something you are looking forward to?
“Emerita,” a retrospective exhibition of forty years of my work at SMU’s Pollock Gallery opening September 7, 2018.

Film or digital?
Yes!

Last book you read?
Cake, a very fun cookbook of cake recipes with stories and illustrations by Maira Kalman.

If you hadn’t become an artist, what career would you have chosen?
Film editor or architect.

Where do you feel inspired around Dallas?
The weird Valley View Mall and the Santa Fe Trestle Trail, for different reasons.


Linda Ridgway

Ridgway is a Dallas-based printmaker and sculptor working primarily in bronze. Her work has been the subject of solo exhibitions around the country, most recently at Talley Dunn Gallery in Dallas, as well as group exhibitions at the Grace Museum and the Amon Carter Museum of American Art this year. Aside from the DMA’s collection, Ridgway’s work is in the permanent collections of the El Paso Museum of Art, Modern Art Museum of Fort Worth, Museum of Fine Arts, Houston, Phillips Collection, Weisman Collection, and AMOA Arthouse.

Linda Ridgway, Harvest Line, 1995, bronze, Dallas Museum of Art, gift of Nona and Richard Barrett and Mr. and Mrs. Bryant M. Hanley, Jr., 1996.190

Learn more about Ridgway’s sculpture Harvest Line in the online collection.

If you could take one work of art from the DMA home, what would it be?
If I could take only one piece, it would be Beginning of the World by Constantin Brancusi.

Constantin Brancusi, Beginning of the World, 1920, marble, nickel silver, and stone, Dallas Museum of Art, gift of Mr. and Mrs. James H. Clark, 1977.51.FA, © Artists Rights Society (ARS), New York / ADAGP, Paris

What is your favorite bit of nature around Dallas?
My favorite bit of nature is White Rock Lake.

What is your favorite poem?
Uses of Sorrow by Mary Oliver is my favorite poem at the moment.

Any advice for young artists out there?
There is a lot of advice you can give to a young artist, but the most valuable lesson is hard work and to never give up.

What is something you are looking forward to?
Having a bigger studio space to create more work.

What was the last thing you looked up on Wikipedia?
I don’t use Wikipedia, but I do use my smartphone to look up things. Recently, I looked up images by John Singer Sargent, because of a book I am now reading.

How long have you been drawing?
I started drawing as a child, but at the age of 13 I made the decision to become an artist.

Do you listen to music while you are working?
I listen to the classical station.

If you hadn’t become an artist, what career would you have chosen?
A biologist.

What are some words that you live by?
Everything will be okay.


Frances Bagley

Bagley is a Dallas-based sculptor and installation artist. Among numerous public art projects, and both Texas and national exhibitions, her work is included in the permanent collections of American Airlines, the National Museum of Women in the Arts, the El Paso Museum of Art, Pepsi-Co, UT Arlington, and Southwestern Bell. Bagley is the recipient of multiple awards, including the Moss Chumley Award in 2011, the 10th Kajima Sculpture Exhibition in Tokyo in 2008, and the Jurors Award for the Texas Biennial in 2007.

Frances Bagley, Tiny Dancer, 2008, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund, 2009.23, © Frances Bagley

Learn more about Bagley’s sculpture Tiny Dancer in the online collection.

If you could take one work of art from the DMA home, what would it be?
Isa Genzken’s sculpture Door (Tür).

Isa Genzken, Door (Tür), 1988, concrete and steel, Dallas Museum of Art, gift of The Rachofsky Collection and purchase through the TWO x TWO for AIDS and Art Fund, 2006.46, © Isa Genzken

What was the last thing you looked up on Wikipedia?
Billy Bob Thornton’s background.

What are some words that you live by?
“Tell the Truth.”

Any advice for young artists out there?
Becoming an artist is not a career choice. You should only do it if you have to and won’t be happy with any other choice.

What is something you are looking forward to?
Going to Maine this summer for Barry Whistler’s birthday party.

Favorite place you have traveled?
Tunisia.

Last book you read?
Buddha Mind in Contemporary Art, edited by Jacquelynn Baas and Mary Jane Jacob.

If you hadn’t become an artist, what career would you have chosen?
See my answer to question #4. No other choice would have made me happy.

What is a daily ritual that you have?
Discussing the world with Tom Orr while having coffee every morning.

What material are you interested in working with next?
Oil paint.

What questions do you have for the artists? Drop by each Saturday to spend time with them in the galleries and learn about their creative process firsthand.

Jessie Carrillo is Manager of Adult Programs at the Dallas Museum of Art. 

America the Beautiful

Happy Independence Day! Many of you likely have exciting activities on your agenda today, like proudly parading through the streets, chowing down on some backyard BBQ, watching the night sky illuminate with sparkling bursts of color, or all of the above. For those of you in need of some balance between raucous outdoor festivities and quieter, more subdued plans, today is a great time to visit the DMA and stroll through the American art in our collection. The Museum is open today from 11:00 a.m. until 5:00 p.m.

To celebrate the array of differing landscapes and perspectives that make up the United States, here are a few works from American artists that illustrate various scenes and slices of life in our country.

Small towns:

 

Big cities:

 

Towering mountainscapes:

 

Seaside scenes:

 

Deserts and dry lands:

 

Lush green views:

 

Everyday people:

 

And all the critters in between:

 

Hayley Caldwell is the Communications and Marketing Coordinator at the DMA.

Holding Up a Mirror to Texas Icons

If you’ve visited the DMA lately, you likely noticed the large red mural created by Minerva Cuevas in our Concourse. For those unfamiliar with Cuevas’s art, she is known for her conceptual multi-media installations, and the way her images, language, found objects, and sculpture work together to create political critiques. Some of her projects reformat the visual language of advertisements, using it to harness advertising’s power to affect cultural narratives. For example, see Cuevas’s morbid reimagining of the Del Monte logo. What makes her work so interesting and accessible is the way it explores the relationships among socioeconomic systems, indigenous identity, and the environment with a sense of dark humor. Sometimes, as we see in Fine Lands, her work is downright playful.

Fine Lands, on view at the DMA through September 2, transforms the Museum’s central Concourse into a dystopian Texas landscape, rendered in a powerful comic-book style. Familiar silhouettes of oil wells become menacing, insectlike forms, while crude oil spewing from a derrick morphs into a cloud of bats filling the sky.

Minerva_Cuerva_Installation_07_o3

Alongside cacti and desert scrub, a tortoise’s shell is reimagined as a backpack, a reference to the northward journeys of migrants. A tough, muscled armadillo and wide-eyed prairie dogs wear bulletproof vests. It’s easy to imagine these critters as comic book characters with individual personalities.

Minerva_Cuerva_Installation_06_o2

Meanwhile, enormous ants represent industrial and agricultural labor. Echoes of the Texas State Fair’s midway evoke the quintessential cultural icons of Dallas. Framing the mural at one end of the Concourse are the words “LAND LIBERTY LIFE,” a message that is equally evocative of the American dream and of indigenous struggles for autonomy and food sovereignty.

Minerva_Cuerva_Installation_05_o3

 

Minerva_Cuevas_Press_Preview_3.jpg

Fine Lands Press Preview, May 11, 2018

This imagery and its layers of associations allow us to imagine unfolding narratives, or to insert our own memories of the Texas landscape. Although the mural clearly references hot-button issues such as pollution, migrant labor, and the power of the fossil fuel industry, there is no single overarching message. Rather, Cuevas holds a mirror up to Texas culture, reflecting it back to us with the added insights that creative metaphor brings. For example, she treats oil in several ways: as a natural resource, as an element of our economy (for better or worse), and as a visually fascinating substance that oozes and seeps across the landscape. More than a simple warning about the dangers of oil as a pollutant, this imagery evokes the role of fossil fuels as the bedrock of Texas industry and an important component of our deep-rooted sense of independence.

Through its examination and reframing of common cultural stereotypes surrounding our state, Fine Lands offers a new way of seeing and understanding subjects such as immigration, the politics surrounding natural resources, and ideas about Texan identity. The presence of bright white crosshairs distributed throughout the mural lends an undertone of menace. The sight of these crosshairs hovering on the wall just ahead implies an immediate threat, lurking right behind us. How we understand that implied threat, and the extent to which we participate in Cuevas’s reflection on the Texas landscape, is up to each of us.

Chloë Courtney is a Digital Collections Content Coordinator at the DMA.

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

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

In Search of Brandon Kirby and the Golden Spider

Earlier this month, the DMA’s exhibition The Power of Gold: Asante Royal Regalia from Ghana opened to the public. What you may not know is that the entire exhibition of more than 250 objects was inspired by a few works from the DMA’s collection. The DMA Member Magazine, Artifacts, explored two of these objects in the Winter 2018 issue. Discover more about the inspiration behind the exhibition and the history of these beautiful pieces:

In 2014, two finely crafted gold artworks joined the Dallas Museum of Art’s holdings of West African regalia. The cast gold spider and T-shaped bead arrived in an elegant velvet-lined display box bearing an inscription with the following information: the items came from the Asante kingdom, were once owned by the kings, and left their original home in 1883.

Sword ornament in the form of a spider, Ghana, Asante peoples, late 19th century, gold-copper-silver alloy, Dallas Museum of Art, McDermott African Art Acquisition Fund, 2014.26.1

Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific, and The Margaret McDermott Curator of African Art at the DMA, began a multi-year investigation into the works’ journey from the Gold Coast (present-day Ghana) to Texas. This research inspired The Power of Gold: Asante Royal Regalia from Ghana, the first exhibition to focus on Asante royal regalia in over three decades. The Cree family were previous owners of the objects, and in their oral history detailing the objects’ relocation from Africa to England they mention a man named Robert L. Brandon Kirby. Who was Brandon Kirby and how did he come to own these ornate examples of gold craftsmanship? These questions drove Walker to dig through British Parliamentary Papers, correspond with international archivists and scholars, and trace census records throughout the US and Europe. Born in Australia in 1852 as Robert Low Kirby, and later recorded under the surname Brandon Kirby and then Brandon-Kirby, he traveled in 1881 to the British colony, where he served in the Gold Coast Constabulary, a police force. He earned the respect of the British governor of the Gold Coast, Sir Samuel Rowe, and during a mission in 1884 he was tasked with delivering letters from Sir Samuel to the kingdom’s various paramount chiefs regarding the pending selection of an heir to the Golden Stool (throne).

Walker’s reconstructed narrative identifies this tour through the Asante kingdom as the context for Brandon Kirby’s possession of the cast gold spider and T-shaped bead, which were probably bestowed upon him by Prince Agyeman Kofi, later known as Asantahene (king) Kwaku Dua II.

Pendant, Ghana, Asante peoples, late 19th century, gold-copper-silver alloy, Dallas Museum of Art, McDermott African Art Acquisition Fund, 2014.26.2

The following year, Brandon Kirby partnered with James Cree (d. 1891), a wealthy Scotsman, to buy cattle ranches in the Territory of New Mexico, thus the Asante spider and bead arrived in the US. According to Cree family lore, Brandon Kirby’s dramatic departure from New Mexico forced him to travel light, leaving behind his mementos of his time in the Gold Coast.

The intricate castings were then passed through generations of the Cree family, landing in Austin, Texas. From there, it was only a few hundred miles and years of research before their reintroduction at the DMA in The Power of Gold. A final historical resource soon joined the spider and bead at the DMA and recently entered the Museum’s collection—an album of photographs by Frederick Grant dated 1883–84 and featuring Brandon Kirby in Kumasi, the capital of the Asante kingdom.

Frederick Grant, Ashanti and West Central Africa, 1883-4 (cover), 1883–84, leather, copper alloy, and paper, Dallas Museum of Art, African Collection Fund, 2017.12

Frederick Grant, Ashanti and West Central Africa, 1883-4 (detail), 1883–84, leather, copper alloy, and paper, Dallas Museum of Art, African Collection Fund, 2017.12

Find out more about Brandon Kirby and the golden spider in the beautifully illustrated exhibition catalogue that accompanies the exhibition.

Dr. 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.


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

Join 1,453 other followers

Twitter Updates

Flickr Photo Stream