Archive for the 'Exhibitions' Category

Visions of America

What do Paul Revere and Andy Warhol have in common? Seemingly nothing, right? Wrong. Both of these men, who are equally renowned for different reasons, were also American artists (yes, the Paul Revere “The British are coming” fellow) responsible for depicting important moments in the nation’s history through prints. This Sunday, May 28, their works will be joined at the DMA by others from greats such as James McNeill Whistler, Mary Cassatt, Winslow Homer, George Bellows, John Marin, Jackson Pollock, Louise Nevelson, Romare Bearden, Robert Rauschenberg, Chuck Close, Jenny Holzer, Kara Walker, and many more.

Politics in an Oyster-House

Michele Fanoli, after Richard Caton Woodville, Politics in an Oyster-House, 1851, hand-colored lithograph, National Gallery of Art, Washington, Corcoran Collection (Gift of the Estate of William Woodville, VIII)

Just in time for Memorial Day and the Fourth of July, Visions of America: Three Centuries of Prints from the National Gallery of Art takes a look at how America and its people have been represented in prints made by American and non-American artists between 1710 and 2010. As the final venue of a four-city international tour and the only other US venue, the DMA will present more than 150 outstanding prints from the colonial era to the present, drawn exclusively from the National Gallery of Art’s collection.

Lose yourself in the nation’s spacious skies and amber waves of grain through September 3, 2017.

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

Frida Kahlo: Fashion as the Art of Being

At Late Night this Friday journalist and author Susana Martínez Vidal will speak about her beautiful new book, Frida Kahlo: Fashion as the Art of Being, which looks at the iconic and carefully curated style of Frida Kahlo and the artist’s lasting influence in the worlds of fashion and art. Before her visit, I asked the author to share a few insights about this project.

Frida Kahlo Cover 3D crop

What inspired you to write a book about Frida Kahlo?

During the almost 18 years that I headed EllE Spain and attended international fashion shows, I saw Frida walk by on innumerable occasions, interpreted in diverse ways by the greatest designers in the world: Jean Paul Gaultier, Givenchy, Valentino, Karl Lagerfeld, Lacroix, Kenzo, all have paid homage to her.  Countless times I witnessed her influence in music, film, and in the best international fashion magazines.  The most famous actresses, models, and singers have evoked her: Monica Belluci, Naomi Cambell, Linda Evangelista, Kate Moss, Claudia Schiffer, Beyoncé, Madonna, Patti Smith, Cold Play.

In 1993 Frida Kahlo inspired the first fashion shoot I published as the director of EllE.  Through the eye of Canadian photographer Michel Pérez, actress and model Patricia Velásquez, the exotic beauty for “The Mummy” saga (who along with Frida shares indigenous heritage), was transformed in an Aztec princess. Years later, I was impacted by the spring collection of the great Jean Paul Gaultier, the first of the major designers to evoke her.

It powerfully attracted my attention that a woman who was half indigenous and was not from a first world country nor from show business (she wasn’t an actress, singer, or dancer) had gatecrashed into ranking among the most iconic women of the 20th century, next to Marilyn Monroe, Jackie Kennedy or Maria Callas.

In 2012, shortly after relocating to live in Mexico, the Huffington Post asked me to write a blog about the exposition of Frida Kahlo’s clothing that had recently opened.  Seeing this fantastic showcase in the Casa Azul Museum, I started to remember all the images of Frida from the runways and decided that the subject deserved to be explored more profoundly.  At the end of the article I expressed my desire that one day a book would speak to the influence of Frida Kahlo on fashion.  It was a challenge I gave myself to dare myself to take the step.  For months the article was one of the most read on Huffington Post, and this convinced me that Frida lived even though she had died more that half a century prior.   Frida Kahlo: Fashion As the Art of Being is the realization of that dream.

Frida Book 2 crop

In your opinion, what is the biggest lesson Frida taught us about fashion, art, or life?

Her determination to transform pain into beauty, while being an imperfect beauty, motivated her to build an image that she cared for and cultivated in order to elevate her self-esteem. She used fashion like therapy, emphasizing her defects to develop her own hallmark image and identity. The more pain she was in, the greater she made herself up. At the end of her life she dressed as if going to a party.

Her fans applaud her paintings because they admire her story, and therefore you cannot separate her life from her work. Like Stephen W. Hawking, she is someone who knew how to transform her limitations into opportunities. In both situations, their disabilities have transformed in aids that encourage them to focus on there abilities. Certainly, she was her finest work of art.

Frida in Gallery 01

Do you see the fashion world’s appropriation of her style as honoring her, exoticizing her–both?

Perhaps both: Fashion has resurrected Mrs. Kahlo, to give her the glory she didn´t have during her life.

Since the beginning, the idea of the book has been to show the influence of Frida Kahlo in contemporary fashion and pop culture and why she continues to appear so modern in the 21st century.

My objective has been to unravel fashion’s constant obsession with Frida Kahlo, despite being a field which by definition is always in constant motion, and decipher why it is that her style continues to provoke an irrepressible appeal the world over.

Frida in Gallery 02

Join Susana Martínez Vidal this Friday for talks in both English and Spanish and pick up a copy of Frida Kahlo: Fashion as the Art of Being, available for purchase in the DMA store.

And let Frida inspire your own fashion – come dressed like Frida Kahlo on May 19 and your Late Night ticket will be $5.

Jessie Frazier is Manager of Adult Programming at the Dallas Museum of Art.

We’re all Family!

For the past two weekends, thousands of visitors have flocked to the Museum to celebrate DMA Family Days/DMA días familiares. The first two  Sundays, presented through the generosity of the World Affairs Council DFW and George and Natalie (“Schatzie”) Lee,  were a hit. Even thunderstorms couldn’t keep people away! On DMA Family Days, you can enjoy both free admission to the exhibition México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde and México 1900–1950 themed activities and live performances. If you can’t tell from the smiling faces below, DMA Family Days gives a whole new meaning to the saying Sunday Funday!

Mark your calendars:
Sunday, April 9: Presented by The Heart of Neiman Marcus Foundation
Sunday, April 16: Presented by The M.O.B. Family Foundation
Sunday, April 23: Presented by Gardere Wynne Sewell LLP
Sunday, April 30: Presented by Texas Christian University
Sunday, May 7, and Sunday, May 14: Presented by Bank of America

 

Designing Mexico

This week we will open the doors to México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, but work on the exhibition began weeks ago. Exhibition designers Jessica Harden and Skye Malish-Olson shared insight into the process of creating the gallery spaces that serve as home for the works of art during special exhibitions.

Jessica Harden: A lot of the work that Skye and I do is to plan for movement of people and objects and really take into account the overall visitor experience and how people interact with and participate in the exhibition.

Skye Malish-Olson: The planning process definitely varies from project to project. I think the most fun for us is always the color and graphics and how that comes together with the objects.

1Final

Image: Barragan House, Mexico City, 1948. Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

JH: One of the first steps of working on an exhibition for us as designers is to talk through the checklist (the list of works of art that will be included in an exhibition) with the curators and to understand which objects are the most important. We can then take that information and use that to our benefit in the design.

SMO:  We’re also typically working with a lot of different eras, and lots of times we’ll start with a kind of mood board or just different visual references to give us a starting place, for color, and for how to portray objects in a way that tells a story.

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Image: Luis Barragán’s San Cristóbal stables in Mexico City, 1960s. Credit René Burri/Magnum Photos

JH: With México 1900–1950, we worked off of a lot of the plans and designs that were developed for the presentation in Paris. This informed in many ways how we wanted to treat the checklist and some of the spaces, but then we had to take into consideration or own space and our own audience, so we made a lot of adjustments. The 10,000-square-foot exhibition is showcased in two separate spaces, a first during my time at the DMA. The exhibition begins on Level 4 in what has typically showcased works from the DMA’s permanent collection, and then continues on Level 1 in one of our main temporary exhibition spaces.

I met the challenge of a disconnected space with a visually strong and contextually relevant inspiration: the work of Mexican modernist architect Luis Barragán, known for his combination of strong, vivid color with clean, modernist forms. Applied in our México 1900-1950 galleries, these colors and forms, offset from the DMA’s existing architecture, assert the entrances and designated areas of the exhibition. The paint application and dynamic forms help lead visitors through a space that is dense with powerful works of art, without feeling claustrophobic. Bright colored panels of wall frame and highlight the sumptuous color of a number of paintings, while creating visually fresh and exciting lines of sight as one moves through the space. An additional benefit is the way these colors work with the existing architecture and wood and limestone finishes, as Barragán was also known for his use of raw materials. From the big picture down to the smallest detail, the exhibition designer’s task is to facilitate an aesthetic experience from the exhibition content that is greater than the sum of its parts.

SMO: I am really excited about the scale and color in the México 1900–1950 exhibition. It is definitely a rare treat and we’re using all of our space and multiple galleries to house these really large and amazing works. I think having our space activated in this way will be really exciting for our visitors.

3Final

Image: Cuadra San Cristobal, Mexico City, 1968. Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

Jessica Harden is the Director of Exhibition and Museum Design and Skye Malish-Olson is the Exhibition Designer at the DMA.

Knight Vision

We are in the final two weeks of Art and Nature in the Middle Ages and to celebrate we are sharing insight from stain glass artist Judith Schaechter modern experience with the medium featured in the Winter 2017 issue of Artifacts.

Installation views

Installation views

Art and Nature in the Middle Ages explores medieval works in a variety of media, including beautiful examples of stained glass. This particular art form was perfected during the Middle Ages, and little has changed in the practice of making stained glass in the ensuing centuries. While this once fairly common medium is not widely used by contemporary artists, Philadelphia-based artist Judith Schaechter is known for her work in stained glass. Artifacts asked her why she is drawn to working in this medium and what similarities she sees between modern stained glass works and those created in the Middle Ages.

Stained glass reached its peak in the 12th century and it’s been downhill since then. Perhaps stained glass is an odd medium to choose if one wishes to participate in the world of contemporary fine art, and, indeed, it is! Yet, I found it altogether irresistible.

Although I went to art school to study painting, I knew almost instantly when I tried stained glass that it was what I wanted to pursue for the rest of my life. Why? I felt “in sync” with glass. When I was a painter, I painted fast and furiously, and ultimately threw everything out. This didn’t happen with glass because it was so labor intensive. By the time I managed to do something to the glass, I had developed feelings of attachment and was hardly going to throw it away.

I found the beauty of stained glass to be the perfect counterpoint to ugly and difficult subjects. Although the figures I work with are supposed to be ordinary people doing ordinary things, I see them as having much in common with the old medieval windows of saints and martyrs. They seem to be caught in a transitional moment when despair becomes hope or darkness becomes inspiration. They seem poised between the threshold of everyday reality and epiphany,
caught between tragedy and comedy.

My work is centered on the idea of transforming the wretched into the beautiful—say, unspeakable grief, unbearable sentimentality, or nerve-wracking ambivalence—and representing it in such away that it is inviting and safe to contemplate and captivating to look at. I am at one with those who believe art is a way of feeling one’s feelings in a deeper, more poignant way.

Medieval windows sought to confer inspiration and enlightenment on those who saw them. Beholding a stained glass window can enable, encourage. and literally enact the process of being filled with light. It sounds like some kind of preternatural phenomenon, but it’s a physical fact. While one is busy identifying and empathizing with the image, one also experiences physically the warming, filling sensations of light. It’s so persuasive not because the pictures are convincing narratives but because the colors are overwhelming and the light is sublime—and, by golly, it’s coming from inside you, it’s part of you.

Judith Schaechter has lived and worked in Philadelphia since graduating in 1983 with a BFA from the Rhode Island School of Design Glass Program. Her work is in the collection of the Metropolitan Museum of Ar t, the Victoria and Albert Museum, the Hermitage, the Philadelphia Museum of Art, the Corning Museum of Glass, the Renwick Galler y of the Smithsonian Institution, and numerous other public and private collections.

Looking at Law

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins 58 secs. Courtesy of the artist and Paula Cooper Gallery, © Carey Young

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins., 58 secs., Courtesy of the artist and Paula Cooper Gallery, © Carey Young

London-based artist Carey Young’s new video Palais de Justice is a cinematic glimpse into the Brussels courthouse of the same name. The video begins with a lone man walking down a vast staircase. Hands in the pockets of his track pants, he appears far more casual than the 19thcentury architecture that surrounds him. Over time, the video shifts from distant shots of people walking through the interiors to more intimate views of female judges at work. Observing them through smudged portholes in courtroom doors, the camera captures the judges in moments of authoritative posturing during trials: they stroke their chins, remove their glasses, and gaze across the room deep in thought.

The women we see through the portholes are, in fact, actual judges and not actors. Young shot Palais de Justice “guerilla” style for three weeks over a period of two years, catching the daily activities that occurred throughout the building. She did not begin the project with a preplanned narrative but instead pieced her footage together afterwards to form a more poetic picture of the courthouse. Young especially wanted to highlight the presence of the female judges to subvert common assumptions about who holds the power of law. Rather than seeing men in charge, we see only women occupying these prestigious societal roles.

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins 58 secs. Courtesy of the artist and Paula Cooper Gallery, © Carey Young

Carey Young, still from Palais de Justice, 2017, HD video, 17 mins., 58 secs., Courtesy of the artist and Paula Cooper Gallery, © Carey Young

In a brief conversation, Young explained to me that Palais de Justice marks an artistic departure for her. While her work often takes the form of conceptual text, performance, and photography, the video is much more metaphorical and dreamlike. Young further explained that she wanted the video to highlight the intent of the architect to express the “sublime scale of the law.” This is apparent in how Young has installed the work inside the gallery: the projection takes up an entire wall and, as a result, immerses the viewer. Surrounded by a soundtrack of vocal echoes and footsteps playing alongside the video footage, one sees the landmark building itself as another character among the judges and courthouse visitors.

The Palais de Justice was designed by architect Joseph Poelaert in celebration of Belgium’s independence from the Netherlands. A massive structure—over 200,000 square feet with 27 large courtrooms—it remains one of the largest courthouses in Europe. For Young, the monumental qualities of the building made it a perfect case study for her ongoing meditations on the performative nature of law. The architectural elements, especially the oculi through which we gaze, draw attention to our own roles as witnesses to the law in action. It makes us think not only about  the institution of law but also about who has the power to exercise it.

With this in mind, Palais de Justice makes me think about how buildings shape our attitudes and behaviors. How does architecture command this kind of power? Does the architecture of a courthouse differ from, for instance, that of an art museum? What might a courthouse of the future look like?

These are only a few of the questions that Young’s powerful video raises. See it yourself at the DMA, along with other new and existing works by Carey Young, in Carey Young: The New Architecture, now through April 9.

 

Kelly Filreis is the McDermott Graduate Intern for Contemporary Art at the DMA.

Beyond “México 1900–1950”

The DMA is thrilled to host México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, opening March 12. I was fortunate to be able to view this exhibition in Paris at the Grand Palais, and was captivated by the works’ color, scale, and diversity of subject matter. This exhibition is coming to Dallas already chock-full of the heavy hitters of Mexican modernism, but the DMA is taking the opportunity to highlight and include some of our own Mexican greats. Look for the following DMA-owned works in the Dallas presentation:

Andrea Severin Goins is the Head of Interpretation at the DMA


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