Archive for the 'Lecture' Category

Preserving Pollock: A Conversation about Art Conservation

Jim Coddington at work on Jackson Pollock’s One: Number 31, 1950 in the Conservation Studio at MoMA

Jim Coddington at work on Jackson Pollock’s One: Number 31, 1950 in the Conservation Studio at MoMA

I’ll be talking with Jim Coddington, the Chief Conservator at the Museum of Modern Art in New York, this Friday evening, November 20, at 9:00 p.m. about his extensive experience with the work of Jackson Pollock. We’ll be discussing the materials and techniques Pollock used in his paintings, the ways in which those materials have aged and changed over the years, and how conservators approach the preservation challenges that Pollock’s works present.

For a preview of some of the topics that we’ll touch upon, you can have a look at the “Jackson Pollock Conservation Project” blog posts that Jim has been making over the past few years.

MoMA has generously lent Echo: Number 25, 1951 to the Dallas Museum of Art for the Jackson Pollock: Blind Spots exhibition, opening Friday, November 20:

Echo Number 25 1951

Jackson Pollock, Echo: Number 25, 1951, 1951, enamel on canvas, The Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rockefeller Fund, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Jim carried out technical studies and conservation treatment on Echo, and we will be discussing some of the details of that work during our Late Night conversation. Here is a photo of the reverse of Echo during its treatment, with the stretcher removed, which reveals darkening of the canvas where it had been in direct contact with the wood stretcher support:

Conservation Blog Post

In addition to a behind-the-scenes look at the conservation treatments that Jim has undertaken, we’ll also examine Pollock’s working methods. Jim and his colleagues at MoMA have done pioneering analytical studies of Pollock’s materials and techniques, lending new insight into our understanding of this extraordinary artist’s work. Join us this Friday at the DMA!

Pollock in Studio


Mark Leonard is the Chief Conservator at the DMA.

French Riviera Fête

Celebrate artist Gerald Murphy and the Roaring ‘20s on Thursday, August 13, at the DMA’s French Riviera Fête!

Gerald and Sara Murphy on La Garoupe beach, Antibes, summer 1926 Gerald and Sara Murphy Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut © Estate of Honoria Murphy Donnelly

Gerald and Sara Murphy on La Garoupe beach, Antibes, summer 1926. Gerald and Sara Murphy Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut, © Estate of Honoria Murphy Donnelly.

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, Razor, 1924, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist © Estate of Honoria Murphy Donnelly

Gerald Murphy, Razor, 1924, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, © Estate of Honoria Murphy Donnelly

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist © Estate of Honoria Murphy Donnelly

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, © Estate of Honoria Murphy Donnelly

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.

Austen Abounds

It all started last year when a colleague sent me a link to a portrait we have in our collection of Jane Austen, done by Austen’s sister Cassandra. This colleague knew I was an Austen fan and wanted to see if I was aware that we had this in our collection. I had no idea!

After Cassandra Austen, Jane Austen, n.d., engraving, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg

After Cassandra Austen, Jane Austen, n.d., engraving, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg

I shared this awesome news with other Austen fans on staff, which led us to think about how great it would be do a Jane Austen-themed Late Night. Around that time, we also heard that the Dallas Theater Center would be doing a spring production of Austen’s Sense and Sensibility. Voilà, an Austen Late Night was born.

DTC FY15 Sense 300w 150t 1

We brainstormed a lot of ideas, researched speakers who had talked at local and national meetings of The Jane Austen Society of North America, and met with staff from the Dallas Theater Center to talk about connections to their production.

After months of planning, we are excited to see the event take shape, and we invite you to join us for our Jane Austen Late Night on Friday, March 20, from 6:00 p.m. to midnight. You can hear music from the Romantic era, learn about the fashion world of Jane Austen, watch a Victorian fencing demonstration, listen to a dramatic reading by Dallas Theater Center actors, take quizzes to test your knowledge of all things Austen, watch films, including the 1940 version of Pride and Prejudice staring Laurence Olivier, and learn how Kate Rorick helped modernize Austen for the digital age.

Secret Diary LB Cover

For those of you who like to bring the world of Austen to life, we invite you to come dressed as your favorite Jane Austen character or in a costume inspired by England’s Regency era for a chance to win great Austen-themed prizes, including a pair of tickets to the Dallas Theater Center’s production of Sense and Sensibility. Baronda Bradley, a specialist in Regency fashion, will judge the contest, starting at 8:30 p.m.

sense-and-sensibility-original (1)

Our March Late Night is also our annual Spring Block Party in the Arts District. There will be a lot to do that evening with the Nasher Sculpture Center and Crow Collection of Asian Art also staying open until midnight.

And, for anyone needing an Austen appetizer, there are still tickets available to see Jo Baker, author of Longbourn, at tomorrow night’s DMA Arts & Letters Live event.

I hope to see all my fellow Austenites on Friday!

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

Classical Coiffeurs

Janet Stephens with her classic hair models

Janet Stephens with her classic hair models

The snow last Thursday didn’t keep us from hosting hairstylist and amateur archaeologist Janet Stephens as part of our Boshell Family Lecture Series on World Art and Archaeology. Stephens began researching ancient hairstyles after being inspired by several Greek and Roman busts at the Walters Art Museum in her native Baltimore.

Stephens recreates these elaborate looks on stage using only what would have been available – double sided combs, bone needles, and wool thread – just like the ancients. Prep work on the models, who braved the winter weather, began only a few hours before we opened the doors to the public. Stephens set a few preliminary styling steps in place, like multiple braids, in order to maximize time on stage.

She brought three classic styles to life on the Horchow stage Thursday evening for The Art of Ancient Hairdressing complete with period inspired costumes for our DMA volunteers.


If you missed this lecture, don’t worry, you can still get your fashion fix this spring at the DMA with these programs.

Liz Menz is the Manager of Adult Programming

Forget Fashion Week—It’s Fashion Season at the DMA

If you can’t make it to New York or Paris for Fashion Week, don’t worry, the DMA spring collection of fashion events has arrived! Join us for talks exploring fashion—from ancient hairstyles this Thursday, March 5, to what our modern-day fashion choices symbolize about us on Tuesday, June 9.

Figure of a woman, Roman Empire, A.D. 2nd century, marble, Dallas Museum of Art, gift of Mr. and Mrs. Cecil H. Green

Figure of a woman, Roman Empire, 2nd century A.D., marble, Dallas Museum of Art, gift of Mr. and Mrs. Cecil H. Green

Boshell Lecture: The Art of Ancient Hairdressing
Thursday, March 5, 7:00 p.m.
See ancient sculptures in a whole new way through the eyes of hairdressing archaeologist Janet Stephens as she explores how the ancient Greeks and Romans created complex hairstyles.

After Cassandra Austen, Jane Austen, n.d., engraving, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg

After Cassandra Austen, Jane Austen, n.d., engraving, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg

Fashioning Jane Austen
Friday, March 20, 7:00 p.m.
Explore the elegant and extreme styles of Jane Austen’s time with costume designer and fashion historian David James Cole.


Fashion Victims: Dress at the Court of Louis XVI
Thursday, April 30, 7:00 p.m.
Dr. Kimberly Chrisman-Campbell presents her newest book, Fashion Victims: Dress at the Court of Louis XVI, an engrossing chronicle of one of the most exciting, controversial, and extravagant periods in the history of fashion: the reign of Louis XVI and Marie-Antoinette.

june 9

Fashioning Our Identities
Tuesday, June 9, 7:30 p.m.
The editors of the visually compelling book Women in Clothes, Sheila Heti, Heidi Julavits, and Leanne Shapton, will have a spirited conversation about what informs and motivates women in their daily clothing choices and what those fashion choices symbolize and reflect about our lives. Over 600 surveys of women across races, creeds, religions, and ages reveal that there are myriad responses to the question “what does style mean to you?” Fashion designer Lela Rose will share insights into her creative process and how artists have inspired some of her designs.

The Mother Load

Visit the Center for Creative Connections (C3) over the next few months to view The Mother Load, a collaborative project and interactive community installation created by artists Lesli Robertson and Natalie Macellaio that explores the balance between being an artist while also being a mother. The project engages artists from all over the globe both on the Mother Load website and in person. You can attend a visual performance lecture, Hot Potato Called Motherby Israeli artist Shira Richter of The Mother Load project at the DMA tomorrow, October 2, at 7:00 p.m.

Natalie Macelleio (left) and Lesli Robertson (right)

Natalie Macellaio (left) and Lesli Robertson (right)

How has the Mother Load project affected your perspective on being a mother and an artist?

Natalie Macellaio (artist; co-creator of The Mother Load): I feel like I’ve become more interested in collaborating with other women and other artists in general. I’ve become more aware of people’s strengths and how they can best benefit from different things that are happening. I’ve tried to become a little more selfless and look for opportunities not just for myself but for other people I know.

Lesli Robertson (artist; co-creator of The Mother Load): I think one of the things it’s done is to encourage me to continue to dream big. Having children doesn’t mean we have to shut off any part of ourselves, but rather we imagine other possibilities. We can change our practice in a way that will help us move forward and accomplish the things we, as artists, want to do. You don’t have to step backwards, but step forwards.

Shira Richter

Shira Richter

Shira Richter (visiting artist with the Mother Load project): The Mother Load makes me very happy because it’s a non-subject, really, and Lesli and Natalie have helped it become more a subject in its own accord with this international dialogue. It’s extremely important: just the other day, I heard about an art student who couldn’t find a sitter, so she came to class with her baby and the professor basically kicked her out. The student has been trying to fight it, and she felt very alone, but a friend sent her to me, and now there’s this big international conversation going on. It gives us backing, it makes this issue more visible and that’s what we’re trying to do in general, make a connection between motherhood and being an artist. It’s like a worldwide guild. From what I know about it, the art world is extremely sexist, so having an international group of serious people talking about this as a serious subject makes me feel as though my chest is growing just as we speak.

How do you fit in time to be creative? 

LR: By working in collaboration with Natalie. That helps us find the time to be creative and work as artists. Since our children are young, it has been important to go to each other’s studios, and to designate that specific important time for that process to happen. I work at night, I work in the morning, and I also try to have time to think and dream.

Liam, Lesli's son, playing in her studio

Liam, Lesli’s son, playing in her studio

NM: I always try to keep things I’m working on with me. It could be a little project I can do in a few hours to something I work on for months. I always have it with me, at work or at home, so if I find an extra 30 minutes I can work on it. I’ve learned that the only way I can get anything done is to grab time when I can and when I have the energy. I’ve found that my best time is in the morning, so I get as much thinking and work done then as I can. Also, to have someone you’re accountable to when you work collaboratively forces you to stay on top of it and stay on your game, if you will.

Natalie's children, Milo and Fina

Natalie’s children, Milo and Fina

SR: First of all, I think it’s different according to the age of your kids, and it depends on context: do you have a partner who helps, do you have an extended group that helps such as friends, other artists, other mothers, helpers, grandmas, etc.? It really depends on that. Since my kids are older now (twelve), things have changed. At the beginning, I grabbed any minute I had. It’s why I shifted from being a filmmaker to an artist. I didn’t have time to make films anymore. I dissected the film into frames and became more of a photographer and artist in order to suit my new profession as a mother. I completely changed my medium and the way I work.

Shira installing a gallery show

Shira installing a gallery show

NM: Along those same lines, I also no longer create large-scale installations – I now create more intimate works and things I can get done in a reasonable amount of time.

ML 1

Visitors at the opening of The Mother Load at the DMA

What message would you like visitors to take home with them after visiting the DMA’s Mother Load installation?

NM: Lesli and I were just talking about it last night and thinking about the responses on the tiles. We are hoping that instead of running through the space, visitors will take a moment to reflect on their own lives and what they nurture. They don’t have to be an artist to relate to the idea of being a mother while also wanting to nurture something inside themselves. We hope that visitors take a few minutes to reflect on what they nurture and to figure out a good balance in their day-to-day activities.

ML 2

Visitors respond to the question “In your life right now, what do you nurture, and why?”

LR: To speak to another point, we also want visitors to discover new artists and the work they’re doing. We include QR codes because we want them to be a visual representation of the two sides of the artists, but also so visitors can find new artists that hopefully can be a great inspiration to them. The idea of art and motherhood and all these conversations aren’t in one culture, but are broader than that.

ML 3

A visitors scan one of the QR codes included in the installation

NM: Sometimes we feel we are so far away from other cultures and other people. We don’t feel like we have common ground, but we do, and it’s easier to find similarities between different countries, languages, and cultures than you realize. Lesli and I have had Skype conversations with women we’ve never met, and we find we have this common ground and can talk for an hour or two hours (that’s what happened the first time we talked with Shira). This is something extremely universal, and these conversations need to continue, maybe today more so than ever.

LR: Visitors to the DMA’s installation can read written responses on this topic from women all over the globe on the accompanying iPad in the installation or at

SR: First of all, I haven’t been to the installation yet, but I am excited to see it. There’s so much on this subject that belongs not only to women artists but belongs to culture at large because we are creative beings. I think we in the Western world divide creativity and nurturing. Women artists who are mothers are trying to figure out how to connect these two and bring them back together. We find that, as we become mothers, it is so intense and that’s where the tear occurs; you’re using creativity to bring up this amazing human being but you also think “What about my career, my work?” We’re trying to bring these two elements back together and figure out a way to inspire ourselves and others.

Join us tomorrow for what is sure to be a unique performance-lecture experience.

Melissa Gonzales is the C3 Gallery Manager at the DMA.


Installing Light

Nur: Light in Art and Science from the Islamic World is opening this weekend and the DMA is the only venue outside of Europe to host this exhibition featuring rarely seen objects from around the world. We’ve been preparing for weeks for Sunday’s opening, as you can see in the photos below,

Learn more about the exhibition and the artistic techniques used to enhance the effect of light found in the objects on display in Nur from the DMA’s senior advisor for Islamic art, Dr. Sabiha Al Khemir. And on Thursday, April 3, your lecture ticket will also include admission to Nur: Light in Art and Science from the Islamic World!






































































































































Kimberly Daniell is the manager of communications and public affairs at the DMA

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