Archive for the 'Staff' Category

Pet-a-Palooza: A Tail-Wagging Line-Up of Fabulous Felines and Furry Fidos

You have got to be kitten me right meow—is it national Dress Up Your Pet Day already? Indeed it is! If you were having a ruff day, not to worry! Every January 14 the dog-gone crazy DMA staff transform their cuddly critters into a favorite work from our collection (check out the catwalk from 2014 and 2015). It is im-paw-sible not to smile after viewing these purr-fect copycats. Who will be your favorite cat-tenders?

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DMA Staffer: Stacey Lizotte, Head of Adult Programming and Multimedia Services
DMA Pet: Parker, English Springer Spaniel, age 2 (he belongs to my parents but I borrowed him when I was home for Christmas)
Portrait Inspiration: Camille Pissarro, Self Portrait, c. 1898
I sent my mom several portraits from our collection to pick from and she liked Camille Pissarro’s Self-Portrait best because Parker has the same soulful look. We had a lot of moving parts with this portrait—from props, background, and getting the right angle so that Parker’s chest hair looked like a beard—therefore it took about 120 shots to get one good one of Parker as Pissarro. And a shout out to George Costanza for letting Parker borrow his beret and painter’s palette.

Mexico Jessica
DMA Staffer:
Jessica Fuentes, C3 Gallery Manager
DMA Pet: Fidel (age 4), Nene (age 6), and Cappuccino (age 2 months), Chihuahuas
Portrait Inspiration: Jesús Guerrero Galván, Images of Mexico (Imágenes de México), 1950
New year, new pup! Just a few weeks ago we added a new Chihuahua puppy to our Chihuahua family, so when thinking about this year’s Dress Up Your Pet Day, I had to find a work of art with three figures. I planned to roam the galleries searching for the perfect painting, starting on Level 4 and working my way down. But I didn’t have to go very far. On the Level 4 Landing, overlooking the DMA Cafe, I came across Images of Mexico (Imágenes de México) by Jesús Guerrero Galván. Not only did it contain three figures, but each figure seemed to capture each of my dogs’ traits. The figure in the middle with the piercing eyes had the unmistakable stare of my moody dog, Nene. The figure on the left seemed younger and sweeter, asleep and cuddling up to the older sibling, spot on for my loveable, cuddly Fidel. And the figure at right, lying slightly adrift, illustrated the slight rift between the dogs who’ve grown up together and the newbie, Cappuccino.

george chloe
DMA Staffer: 
Amanda Blake, Head of Family, Access, and School Experiences and Interim Director of Education, and Kimberly Daniell, Senior Manager of Communications, Public Affairs, and Social Media Strategy
DMA Pet: George Costanza (age 9) and Chloe (age 10), West Highland White Terriers
Portrait Inspiration: Alfredo Ramos Martinez, Mexican Adam & Eve (Adam y Eve Mexicanos), 1933
George and Chloe enjoyed teaming up so much for last year’s blog that they just had to do it again in 2016. Chloe desperately wants to be best friends with George, but becomes a bit shy when he is around because he is such an Insta celebrity. In order to get her out of her bubble and bring these two westies closer together, we decided making them the original couple would help them take their friendship to the next level—could it be puppy love? Both pups enjoyed re-creating this beautiful, large painting by Alfredo Ramos Martinez, and they can’t wait for next year’s art date.

Jessi red hat
DMA Staffer:
Jessie Frazier, Manager of Adult Programming
DMA Pet: Jenny, Basset Hound, age 5 1/2
Portrait Inspiration: Frank Duveneck, Lady with a Red Hat (Portrait of Maggie Wilson), c. 1904
This is one of my favorite paintings in the collection, and I thought it was only fitting for one graceful lady to emulate another. Jenny agreed that, like Ms. Maggie Wilson, her delicate features are best captured in profile.

T43118, 3/31/05, 12:37 PM, 8C, 5518x7554 (216+420), 100%, Repro 1.8 v2, 1/8 s, R68.5, G54.1, B79.0

DMA Staffer: Rebekah Boyer, Assistant Manager, DMA Member Groups
DMA Pet: Stokely Carmichael, Domestic Housecat, suspected Panther, age 4
Portrait Inspiration: Eugène Delacroix, Portrait of a Woman in a Blue Turban, c. 1827
This painting by Eugène Delacroix always catches my eye when I browse our European collection. The model is dressed with studio props intended to persuade the viewer that she is a mysterious and “exotic” foreigner; her “otherization” is further solidified by the use of familiar conventions of Renaissance portraiture. Not only does this send me down memory lane to my undergraduate infatuation with Edward Said but the contemplation of this “Orientalism” piques my interest in the model herself. Was she complicit in this “imperialist oppression,” or was she merely seeking gainful employment to alter her material conditions? I think Stokely’s faraway gaze mirrors and reveals the original work’s secrets: He is ready to help, as long as there is a tuna-laden reward awaiting him.

pollock, 7/10/08, 12:29 PM, 8C, 4086x8892 (1584+108), 112%, chrome 7 stops, 1/8 s, R55.4, G34.4, B47.8

DMA Staffer: Chelsea Pierce, Curatorial Administrative Assistant, Contemporary Art
DMA Pet: Helios, Great Pyrenees mix, age 6
Portrait Inspiration: Jackson Pollock, Portrait and a Dream, 1953
Helios is a sensitive dog with many artistic qualities. Most days, he lounges in his armchair as he waits for his mom to return home. Above this chair is a work on paper—made by a DMA colleague—that resembles the black entangled mass in Jackson Pollock’s Portrait and a Dream. After catching Helios curiously examining this work, the idea presented itself to use his precious face as the portrait side of Pollock’s work. Having worked on the current Jackson Pollock: Blind Spots exhibition for over a year, I can say that Pollock has now become ingrained in every aspect of my life.

2008_43_2_a_e, 11/18/08, 12:33 PM, 8C, 6000x8000 (0+0), 100%, Custom, 1/15 s, R92.9, G57.6, B60.4

DMA Staffer: Andrea Severin Goins, Interpretation Manager
DMA Pet: Artemisia Gentileschi (“Artie”), Malshi (Maltese-Shihtzu), age 6
Portrait Inspiration: Marcel Dzama, The Minotaur, 2008
While Artie is named after a 17th-century painter, her favorite kind of art is contemporary. She is particularly drawn to this Dzama sculpture because, like the Minotaur—a hybrid of man and goat—Artie is herself a hybrid (of Maltese and Shihtzu).

lindsay dorothy
DMA Staffer: 
Lindsay O’Connor, Manager of Docent and Teacher Programs
DMA Pet: Hattie, Dachshund-Terrier mix, age 1
Portrait Inspiration: John Singer Sargent, Dorothy, 1900
Little Miss Dorothy was the natural choice for feisty one-year-old Hattie’s first Dress Up Your Pet Day. While this energetic pup enjoys getting cuddles or tearing around the dog park, Hattie patiently sat for her turn-of-the-century portrait and met the camera with poise beyond her years. She enjoyed chewing on the bonnet when we wrapped up.

Not DMA Photography

DMA Staffer: Dr. Anne R. Bromberg, The Cecil and Ida Green Curator of Ancient and Asian Art
DMA Pet: Miss Suzl, Maine Coon, age 5
Portrait Inspiration: Thomas Sully, Cinderella at the Kitchen Fire, 1843
Miss Suzl loves posing in her library home and we have a white Snow Leopard toy for her to pose next to as Cinderella and her cat. I named this piece Companion Animals: Miss Suzl and the White Pussy.

queta
DMA Staffer: Queta Moore Watson, Senior Editor
DMA Pet: Floyd, Tan and White Tabby, age 9 months
Portrait Inspiration: Léon Frédéric, Nature or Abundance (La Nature or Fécondité), 1897
This allegorical depiction of the unity and harmony of nature was painted by Belgian symbolist artist Léon Frédéric. The dual title, Nature or Abundance, is apt here as flora and fauna unite while surrounded by the abundance of the holidays. Perhaps even more apt, however, is the abundance of ornaments Floyd broke as he harmonized with nature.

(Images: Camille Pissarro, Self-Portrait, c. 1898, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.44; Jesús Guerrero Galván, Images of Mexico (Imágenes de México), 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.102; Alfredo Ramos Martinez, Mexican Adam & Eve (Adam y Eve Mexicanos), 1933, oil on canvas, Lent by Private Collection, Dallas, TX; Frank Duveneck, Lady with a Red Hat (Portrait of Maggie Wilson), c. 1904, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1987.368; Eugène Delacroix, Portrait of a Woman in a Blue Turban, c. 1827, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Patricia McBride, 2005.34.McD;  Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, Gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1967.8, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; Marcel Dzama, The Minotaur, 2008, plaster, gauze, rope, fabric, chair, bucket, and paintbrushes, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, 2008.43.2.a-e, © Marcel Dzama; John Singer Sargent, Dorothy, 1900, oil on canvas, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc., 1982.35; Thomas Sully, Cinderella at the Kitchen Fire, 1843, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 2005.1; Léon Frédéric, Nature or Abundance (La Nature or Fécondité), 1897, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2007.18.FA

Kimberly Daniell is the Senior Manager of Communications, Public Affairs, and Social Media Strategy, and Julie Henley is the Communications and Marketing Coordinator at the DMA.

A Staff Selection in C3

As part of our mission in the Center for Creative Connections (C3), we highlight voices from our community. We achieve this in several ways: by offering visitors the opportunity to publicly respond to works of art, by commissioning local artists to create interactive installations, and by collaborating with local artists to offer special programming. In addition, each year we work with DMA staff, those who wouldn’t ordinarily have the opportunity to select which works of art go on view, to pick a work of art to be installed in C3 and write about it. We call it “C3 Staff Point of View.”

This year, Maria Teresa Garcia Pedroche, Head of Community Engagement, has chosen an assortment of nine retablos, which were installed December 14 and can be seen on your next visit to C3.

 

Describe your job in fifty words or less.
I create experiences and programs both at the Museum and off-site that promote conversation and engagement by inviting community partners to share their unique perspectives on the Museum’s collection. My job also  includes organizing the annual “Young Masters” exhibition, which features works created by Advanced Placement students participating in the O’Donnell Foundation’s AP Fine Arts Incentive Program.

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All of these works are titled Retablo. For our readers who may not know, what is a retablo?
Although these works are titled “retablos,” Spanish for “devotional paintings,” many of them are also considered “exvotos,” paintings that serve as offerings of gratitude. “Exvotos” are created on tin or sheet metal by local artists or artisans using inexpensive materials. Many “exvotos” include a painting of a saint with the name and image of a patron.

What factors led to your decision to choose these works of art to go on view in C3?
Often I work with communities outside the walls of the Museum. We have a proud history of serving North Texas, connecting art and people. Over the years, the communities we serve that collect “exvotos” and “retablos” have asked if these types of works are part of the DMA’s collection. I chose these works of art because some of our communities are specifically interested in them, and showcasing global works helps visitors appreciate and understand the importance of art created by everyone. Personally, I have created “retablos” inspired by strong women in my family.

Also, I love the art and stories with answered prayers. Growing up in Brownsville, Texas, my family traveled to the Basilica of Guadalupe, DF, San Juan de los Lagos, Jalisco, Shrine of St. Francis of Assisi, Real de Catorce, SLP, and other churches. We participated in pilgrimages where visitors would pray for their loved ones and leave their votive offerings at the altar and outside the place of worship. It was wonderful to see and hear visitors share blessings and miracles.

What do you hope visitors will gain from seeing these works of art?
The demographics show that Dallas is multicultural; we can bridge the cultural differences and find common language through the arts.  The arts are the soul of our community, helping reflect and promote the city’s history and cultural diversity: past, present, and evolving. I hope visitors will be open when viewing these works and consider how these “exvotos”—these hopes, dreams, and prayers—are similar to their own.

When you stop by the Center for Creative Connections to see these newly installed retablos and exvotos, take a moment to create your own exvoto illustrating a personal experience or prayer.

Jessica Fuentes is the Center for Creative Connections Gallery Manager at the DMA.

Silver Belles Lettres

The DMA Arts & Letters Live series is thrilled to celebrate its 25th season—our silver anniversary—in 2016! As the DMA’s literary and performing arts series, we are known for presenting literary icons, and this year is no different, with authors from Hanya Yanagihara (author of one of the most talked about books of 2015), Erik Larson, Dave Isay, Daniel James Brown, Rainn Wilson, Elizabeth GilbertPadma Lakshmi, and Kate Tempest, just to name a few. We’re kicking off the season with an award-winning duo of “Memoiristas” on January 11: Mary Karr, who will discuss her new book The Art of Memoir, and Tony and Emmy Award–winning actor Mary-Louise Parker, who will play Mary Karr in Showtime’s forthcoming series Lit.

This year you may notice a new look on the cover of our season brochure, which you can view online or pick up in person the next time you visit the Museum. The DMA hosts a staff art show every two years, and I’ve always admired Cathy Davis-Famous’s (you’ve probably all met Cathy on a visit to the DMA; she is always ready with a smile and warm hello at our Visitor Services Desk) whimsical paper dolls made out of discarded exhibition rack cards and notecards. So, I invited her to create a special cover for our 25th season brochure. Here’s what she has to say about designing it:

“When I was asked if I would be interested in creating a design feature for the cover of the DMA Arts & Letters Live brochure celebrating its 25th anniversary, I was ecstatic! I couldn’t believe it–what an honor to be considered for this milestone event. During the fifteen years that I’ve been a part of the DMA, there has always been an impressive lineup of authors and great books. One of my favorite moments is meeting Nanny McPhee’s Emma Thompson at the booksigning table, where I made her burst into a roaring laugh when I told her that I still cry with her at the end of Sense and Sensibility when she finds out Edward Ferris isn’t married. I’ll never forget that!

“I was supplied with an large stack of images of many book covers of great authors, titles, illustrators, and photography, so much to choose from. Then the excitement gave way to stress and the pressure of coming up with a design worthy of this 25th year recognition.

“I had two or three ideas in mind, so I looked through past projects for inspiration but kept going back to what I enjoy creating the most, “Paperdolls.” I needed an image that could display a variety of covers. With the space that I had to work within, the best design would be the likeness of a Marie Antoinette–style, 17th-century fashion big skirt.

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“I proceeded to clip out images of book covers and arranged them and rearranged them until the pattern was suitable. Then I began to piece the paper images onto the template of the doll parts using paper glue, tweezers, and a toothpick. Time intensive but gratifying, she is outfitted with some of Arts & Letters Live’s best! Thanks for letting me be a part of the celebration.”

 

The 25th season promises to deliver several exciting one-of-a-kind experiences. We hope you enjoy this star-studded special anniversary season as much as we enjoyed bringing together these award-winning authors, actors, and performers. Visit DMA.org now to see our entire season and purchase your tickets.

 Carolyn Bess is the Director of Programming and Arts & Letters Live at the DMA; Cathy Davis-Famous is a Visitor Services Representative at the Museum.

30 Minute Dash – Jessica Fuentes

Many visitors, especially those coming with families, often start their visit to the DMA in the Center for Creative Connections (C3), a great starting point because it is located on the first floor, in the heart of the museum, and displays works of art from across the Museum’s diverse collection. However, after starting in C3, visitors tend to ask, “What else should we see while we’re here?” Of course, there could be a multitude of answers to that question, but I think I’ve laid out a nice action plan, using one of my favorite artworks currently on view in C3 as a starting point.

2008_43_2_a_e, 11/18/08, 12:33 PM, 8C, 6000x8000 (0+0), 100%, Custom, 1/15 s, R92.9, G57.6, B60.4

In the main C3 Gallery, notice the similarities between The Minotaur by Marcel Dzama and Ram Mask with Feather Cape created by the Kom people of Cameroon. They both depict features of two beings, The Minotaur with the head of a bull and the body of a human, and Ram Mask with Feather Cape with a stylized mask representative of a ram and a cape made of chicken feathers. Taking this idea as a starting point for works to see throughout the Museum, exit C3 and turn right down the main concourse. Headdown the concourse and take the Red Elevator up to the 4th Floor. Upon exiting, turn left and walk through the Native American Art gallery, taking a left into American Art. Then stay to the right and walk to the back corner where the American Silver Gallery is located. In a small case in the center of this gallery you will encounter the beautifully intricate silver Vase (for the Pan-American Exposition, Buffalo, New York.

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Notice the serpentine handles culminating in bird heads and the etched patterns of scrolls and masks. Next, continue to walk around and through the American Gallery and take the small staircase that leads to the African Gallery. At the bottom of the staircase, walk to the far end of the gallery and take a right to find the Helmet mask (kifwebe) and costume.

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Kifwebe masks are “composite beings,” compiled of human and animal elements. The striated designs on them derive from the markings and patterns of wild or dangerous animals such as antelopes, zebras, and okapi. The central crest may represent that of an ape or rooster. When you view this work of art in the galleries, it is accompanied by a short video which shows the mask in use, truly bringing it to life. Finally, continue through the African Gallery and take a left into the Egyptian section. To your immediate left you will find a collection of small works including a slate remnants depicting Thoth, God of Learning and Patron of Scribes a human figure with the head of an ibis.
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Visit all of these works, for free, during your Thanksgiving break.

Jessica Fuentes is The Center for Creative Connections Gallery Manager at the DMA

 

images: Marcel Dzama, The Minotaur, 2008, plaster, gauze, rope, fabric, chair, bucket, and paintbrushes, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund © Marcel Dzama 2008.43.2.A-E; Helmet mask with feather costume, Kom peoples, Cameroon, Africa, Early to mid-20th century, wood, fibers, and feathers, Dallas Museum of Art, African Collection Fund 2011.18.A-B; George Paulding Farnham, Tiffany and Company, Vase (for the Pan-American Exposition, Buffalo, New York), 1901, silver, enamel, citrines, and garnets, Dallas Museum of Art, Discretionary Decorative Arts Fund 2009.40; Helmet mask (kifwebe) and costume, Songye or Luba peoples, Democratic Republic of the Congo, Africa, late 19th to early 20th century, wood, paint, fiber, cane, and gut, Dallas Museum of Art, The Gustave and Franyo Schindler Collection of African Sculpture, gift of the McDermott Foundation in honor of Eugene McDermott 1974.SC.42; Thoth, God of Learning and Patron of Scribes, Late Period, 663-525 B.C., Egypt, Africa, slate, Dallas Museum of Art, gift of Elsa von Seggern 1979.1

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

Source: MoMA.org

Mark Leonard is the Chief Conservator at the DMA.

Fashion on Flora Street

One of the many things I’ve enjoyed since joining the DMA Intern Class of 2016 is working with Booker T. Washington seniors to develop their own projects for community engagement at the DMA. A few times a week, the students walk down the street to visit the Museum. We’ve been discussing different learning styles and how to appeal to all the diverse learners that visit museums. While assisting students with their projects is my main focus during their visits to the DMA, I cannot help but also pay special attention to their fashion choices. From week to week, each student’s individual style has inspired me.

So for today’s post, I wanted to highlight some pieces in the DMA’s collection that feature elements of these students’ style. Maybe they will inspire you too!

From the stage to the runway, septum rings have moved beyond counterculture to mainstream fashion.
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Find these nose rings at the DMA on Level 4 in the Ancient American galleries.

Carefully taut buns, messy half-up top knots, and lots of little Bantu knots—this unisex hair trend can be styled in so many different ways. Like it or knot, buns are here to stay.

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For top knot inspiration, look to Bodhisattva in the South Asian gallery and Monju (Manjusri) in the Japanese gallery, both on Level 3.

One-piece swimsuits and leotards have been back for a few years now. But with some of the Booker T. girls, I’ve noticed them as daily wear with skirts and sweaters or even cut-off shorts and a flannel shirt wrapped around the waist.

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This Bather in a one-piece carries off the look with some attitude. She’s a music video waiting to happen. Catch her on Level 4 in the American galleries.

Men’s patterned shirts mirror many of the patterns in our permanent collection. Some of the young men at Booker T. have been seen sporting stripes and floral prints on their button downs. The DMA is home to many intricate textiles as well as paintings that feature patterns that may inspire your own style.

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You can see these three men in patterned shirts in the folding backgammon board in the Level 3 South Asian galleries; the shirt for the figure of a saint is found on the Level 4 outside the Ancient American galleries; and Leon Polk Smith’s asymmetrical work Homage to Victory Boogie Woogie #1 is in the American galleries on Level 4. The paisley pattern is a detail of Alfred Stevens’ The Visit, found on Level 2 in the European galleries.

Stop by the DMA soon for your next style inspiration.

Whitney Sirois is the McDermott Graduate Intern for Gallery and Community Teaching at the DMA.

Images: Group of nose and ear ornaments, Columbia, Sinú, c. A.D. 500-1550, gold, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison 1976.W.451-454, 456-458,460; Nose ornaments, Columbia, Sinú, c. A.D. 1000-1550, gold, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison 1976.W.468, 810, 605; Maitreya, India, Kushan period, 2nd–3rd century, schist, Intended bequest of David T. Owsley; Monju (Manjusri), Japan, Nanbokucho, 1336-1392, ink, color, and gold on silk, Dallas Museum of Art, Dallas Art Association Purchase, 1970.8; Yasuo Kuniyoshi, Bather with Cigarette, 1924, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds/City of Dallas (by exchange) in honor of Dr. Steven A. Nash, 1988.22; Folding backgammon board, India, Mughal period, 19th century, wood, ivory, cord, and inlay, Intended bequest of David T. Owsley; Shirt for the figure of a saint, Guatemala, Kaqchikel Maya, c. 1910-1930, cotton and silk, Dallas Museum of Art, anonymous gift, 2008.194; Leon Polk Smith, Homage to Victory Boogie Woogie #1, 1946, oil on canvas, Dallas Museum of Art, DMA League Purchase Fund, 2000.391; Alfred Stevens, The Visit, before 1869, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1997.112

30-Minute Dash: Emily Schiller

The design of the DMA provides several places for visitors to observe disparate forms of art within adjacent spaces. I find these vantage points to be the Museum’s most unexpected assets and my recommended route passes three of them.

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Take the mid-Concourse stairs to the third-floor balcony. From this elevated perspective you’re able to recognize the curious pairing of sculptures on the ground level and left wall. William Wetmore Story’s Semiramis  follows the familiar tradition of depicting legendary figures in white marble. She reclines near the base of a 1930s Ceremonial pole (mbis) created by the Asmat people in the southwestern region of present-day New Guinea. These works arguably have little in common, and yet at the DMA they are neighbors, ripe for comparison and appreciation.

Next, proceed through the Japanese gallery on the Museum’s third level to the balcony that looks back onto your previous position. The expanse of artistic styles, periods, materials, and intentions gains a level of complexity with the presence of a cast bronze sculpture from the Meji period, Takenouchi no Sukune Meets the Dragon King of the Sea.

Emily Schiller is the Digital Collections Content Coordinator at the DMA.


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