Posts Tagged 'Annette Lawrence'

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

Festive Artworks

From twinkle lights and tinsel to plastic mistletoe and inflatable snowmen, decorations abound during the holiday season. But at the DMA, our walls are “decorated” the entire year, so we poked through the Museum’s collection for particularly festive artworks that would make unique holiday deco. Here’s what we found:

Instead of felted reindeer and fake snow atop your dining room table, how about incorporating Erik Swenson’s tableau of fantastical cold-weather creatures? The one in the sweater would make for interesting dinner conversation.

Erick Swenson, Untitled, 1998, styrofoam, resin, wool, foam, epoxy, clay, and paint, Dallas Museum of Art, gift of Mark Babcock

Erick Swenson, Untitled, 1998, styrofoam, resin, wool, foam, epoxy, clay, and paint, Dallas Museum of Art, gift of Mark Babcock

I would happily exchange the star atop my tree for this Indonesian standing guardian figure (tepaung). Unlike my star, this figure is capable of warding off evil spirits.

Standing figure, c. 1300-1800, Indonesia, East Kalimantan, Mahakam River Region, Belayan River, Kenyah-Kayan Complex, possibly Bahau or Bahau-related people, ironwood, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Standing guardian figure, c. 1300-1800, Indonesia, East Kalimantan, Mahakam River Region, Belayan River, Kenyah-Kayan Complex, possibly Bahau or Bahau-related people, ironwood, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Trade in your tangled ball of twinkle lights for Bruce Nauman’s neon letters.

Bruce Nauman, Perfect Door/Perfect Odor/Perfect Rodo, 1972, white glass tubing, clear glass tubing, and suspension frames, Dallas Museum of Art, General Acquisitions Fund, The 500, Inc., Dorace M. Fichtenbaum, Deedie and Rusty Rose, an anonymous donor, the Friends of Contemporary Art and a matching grant from the National Endowment for the Arts in honor of Sue Graze

Bruce Nauman, Perfect Door/Perfect Odor/Perfect Rodo, 1972, white glass tubing, clear glass tubing, and suspension frames, Dallas Museum of Art, General Acquisitions Fund, The 500, Inc., Dorace M. Fichtenbaum, Deedie and Rusty Rose, an anonymous donor, the Friends of Contemporary Art and a matching grant from the National Endowment for the Arts in honor of Sue Graze

These ancient Peruvian beakers, which may have been used to serve a corn beer called chichi, would be a lovely table setting for any holiday dinner party. Please pass the chicha!

Group of beakers, AD 900-1100, Peru, North Coast, La Leche Valley, Batan Grande Region, Sican culture, 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

Group of beakers, A.D. 900-1100, Peru, North Coast, La Leche Valley, Batan Grande Region, Sican culture, 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

To create this sculpture, Annette Lawrence tore junk mail into strips of equal width. Who needs handmade chains of paper strips when you could decorate your hearth with this?

Annette Lawrence, Free Paper 12 / 05, 2006-2008, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund

Annette Lawrence, Free Paper 12 / 05, 2006-08, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund

Andrea Severin Goins is the interpretation specialist at the DMA.

Seldom Scene: Hodges, Albers, and Lawrence. Oh My!

You may have noticed something shiny and new in the entrance to the Center for Creative Connections (C3). In November, the C3’s Encountering Space exhibition experienced a few art rotations, including the installation of Jim Hodges’ Great Event, three works by Josef Albers, and Annette Lawrence’s Accumulation Project. See the new works, and the new film in the C3 Theater by Frank & Kristin Lee Dufour, for free tomorrow during First Tuesday, when general admission is free from 11:00 a.m. until 5:00 p.m.

The Starting Line

Annette Lawrence, "Coin Toss," 2009, stranded cable, The Art Program at Cowboys Stadium

Try to imagine the longest line of paper conceivable. Now think about how much time it would take to create it. How many people would participate? What would this mass of paper look like? Well, the DMA’s Center for Creative Connections teamed up with Big New Field artist and Community Partner Annette Lawrence this month to start the longest paper line possible.

In the Art Studio earlier this month, Museum visitors crowded around the tables using long rolls of white butcher paper, 4-foot rulers, and double-sided tape to create their own addition to Lawrence’s continuous line. Sounds of paper ripping and scissors cutting echoed throughout the Center as the lines our visitors made snowballed to the ground before they rolled them up onto giant spools. Couples worked together to merge their own lines into one and siblings helped each other meld their contributions to the larger spool. The line continued to grow and grow like a living being.

Every six months the Center for Creative Connections invites a Community Partner to creatively respond to the Center’s current exhibition. Our newest partner, Annette Lawrence, came up with the idea to allow visitors to be an active part of the project. Through a series of workshops now through next September, Museum visitors can contribute to a collective paper line by tearing and taping pieces of white butcher paper together. Center staff will collect and store the paper on large spools until Lawrence installs the line in the Center next fall. Once installed, those visitors who contributed to the line will be invited to come view the final work.

Imagine the metamorphosis of two-dimensional pieces of paper into a three-dimensional sculptural form. Visitors were excited to think about how the artist will install the line in the Center,  thinking it might be a never-ending maze of white strips hanging from the ceiling and covering the walls or imagining it as a huge ball of yarn. For now we have to wait for the end result, but until then the line will continue to evolve.

Annette Lawrence, "Free Paper 12 / 05," 2006–08, mixed media, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund, 2008.100.a–e, © Annette Lawrence

The Center for Creative Connections has previously worked with the following Community Partners: the School of Architecture at the University of Texas at Arlington (UTA); Booker T. Washington High School for the Performing and Visual Arts; University of North Texas College of Visual Arts and Design, New Media; textile artist Lesli Robertson (UNT), and, currently, the Center for Creative Computation, Meadows School of the Arts, Southern Methodist University.

Annette Lawrence will participate in the DMA’s “State of the Arts” series, a conversation about the arts and the cultural landscape of the Metroplex, on Thursday, January 13 at 7:30 p.m.

Hadly Clark is the Center for Creative Connections Coordinator for the Dallas Museum of Art


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

Join 1,449 other followers

Twitter Updates

Flickr Photo Stream