Posts Tagged 'C3'

Leaves of Light with Writer Kendra Greene

 

Kendra Greene, the DMA's current Writer-in-Residence

Kendra Greene, the DMA’s current Writer-in-Residence

Since July 2014, the Center for Creative Connections (C3) has worked closely with printer and essayist Kendra Greene. As our Writer-in-Residence, Kendra is assisting in the evaluation and re-purposing of thousands of visitor responses received in relation to a recent C3 installation.

Images (left to right): A Panel Depicting the Tuba Tree, with the 99 Names of God on its Leaves, c. 1900, watercolor on paper, The James and Ana Melikian Collection; Visitors leaving responses at the C3's Tree of "LIGHT" interactive

Images (left to right): A Panel Depicting the Tuba Tree, with the 99 Names of God on its Leaves, c. 1900, watercolor on paper, The James and Ana Melikian Collection; Visitors leaving responses at the C3’s Tree of “LIGHT” interactive

In the spring of 2014, in connection with Nur: Light in Art and Science from the Islamic World, C3 asked visitors to respond to a painting of a Tuba tree with the 99 names of God written on its leaves. Nur is the Arabic word for “light,” so we asked visitors to write a characteristic of light on a gold leaf and hang it on our tree. Over three months, we received 4,394 contributions.

Uncrated sat down with Kendra and asked her a few questions:

Tell us a little about your background with museums.
In my first job, as a preparator, I used to put text on the museum wall—one vinyl letter at a time. As a curatorial assistant, I started writing those texts. I was managing a contemporary photography collection when I discovered the best day I could have was introducing a visitor to some remarkable thing they could never have known to ask for, which may or may not have led to volunteering at a natural history museum to costume their giant ground sloth.

What interested you in working with the Dallas Museum of Art?
Museums are storytelling institutions, and yet so many of those stories go unheard. There’s never enough room on the labels to say everything worth saying, and then there’s the internal stories, the fragile oral history of what it is to live with a museum, that almost never get recorded in the first place. I wanted to capture stories that might otherwise be lost, and I wanted to give voice to surprising things well worth hearing.

Describe your process of unpacking and making sense of the information in the leaves.
The prospect of coming to grips with thousands of discrete words and phrases was overwhelming. I started alphabetizing to organize the leaves, and doing so I found not just patterns of meaning but rhythms of language. I got really interested in the effect of proportion in the responses: the power of “Love” being repeated 242 times, and the power of “Flowers & Weeds” being said just once.

Kendra’s notebook documenting the Tuba tree responses

Kendra’s notebook documenting the Tuba tree responses

What are some of your favorite poems that you generated from the leaf responses?

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How does this kind of creative re-purposing support the process of meaning making?
I’m a writer and a maker essentially because I believe in conversation. It’s exciting whenever creating something generates a response, but when that response generates more making, the whole exchange grows that much richer. It was really important to me to listen to everything this collection of visitors chose to say, and then think about what those writings had to say both individually and en masse. I see a lot of my questions and interpretations in my compositions from the leaves, but mostly I see a portrait of a community that can only happen through collaboration.

Join Kendra Greene for an evening of discovering the galleries through language, unlocking the power of art to spark poetry and prose, Thursday, February 12, from 6:00 to 8:50 p.m., and experience Kendra’s assembled poetry at the February Late Night on Friday, February 20, in the C3 Theater at 8:30 p.m. and 10:00 p.m.

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

Fall Transition

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Transition in the Center for Creative Connections is always a bittersweet time. While we’re excited by the infusion of new art in our gallery because it brings new experiences for our visitors, this week we had to say good-bye to some favorites:  The Visitors by Jacob Lawrence, Frank Smith watering his horse, Cross-B Ranch, Crosby County, Texas by Erwin Smith, and Soul Three by Romare Bearden. Now we’re welcoming Ram Mask with Feather Cape by the Kom people in Cameroon, two films by Isa Genzken, and The Mother Load Project, an interactive installation by local artists Lesli Robertson and Natalie Macellaio. Here’s a little more about our newest installations:

Helmet mask with feather costume, Kom peoples, North West Province, Cameroon, Africa, Early to mid-20th century, wood, fibers, and feathers, Dallas Museum of Art, African Collection Fund

Helmet mask with feather costume, Cameroon, North West Province, Kom peoples, early to mid-20th century, wood, fibers, and feathers, Dallas Museum of Art, African Collection Fund

This mask depicts a ram, an animal that is sacrificed in religious rituals. While the face of the animal is carved naturalistically, the horns are designed as two stylized spherical knobs composed of concentric rings. When the mask is worn, it fits snugly on top of the dancer’s head and the dancer’s face is concealed under a fitted hood. The dancer also wears a costume of chicken feathers. masks_of_mbuoshu_book_scan_descreenWhile we are interested in visitors being able to explore the sensory elements of this piece, including the texture of the materials, the weight of the mask, the sounds of a masquerade, and the sight of the feathers in motion, this month we will focus activities in the C3 on mask making. If you were to create a mask symbolic of yourself or an event in your life, what animal would you choose as a symbol, and why?

Additional works from our African collection have recently been installed in the African Galleries on Level 3, including the new acquisition of a sword ornament in the form of a spider.

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In conjunction with the current exhibition Isa Genzken: Retrospective, on view through January 4, 2015, the Center for Creative Connections is showing two films by Genzken in the C3 Theater. On weekdays you can see Chicago Drive, a 16mm film made in 1992 while Genzken was in Chicago preparing for her Renaissance Society exhibition. It reveals her fascination with local architecture, both the famous and the mundane, and also includes intermittent blues music on the soundtrack. On the weekends, My Grandparents in the Bavarian Forest will be on view. This 63-minute film has English subtitles and is a personal account of Genzken’s grandparents’ home in southern Germany. Through the recording of seemingly banal conversations and her grandparents’ quotidian rituals, Genzken draws a moving portrait of the complexity of family dynamics, and the difficulty of coming to terms with the survivors of the World War II generation.

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This week artists Lesli Robertson and Natalie Macellaio have been on hand in the Center for Creative Connections installing The Mother Load project, an interactive work that hopes to start a dialogue with visitors about the balance of nurturing in one’s life. The collaborative project began as a way to engage with women who lead the creative life of an artist while also being a mother. Through the project, Robertson and Macellaio are collecting fingerprints from artists and their children, recording experiences through written word and audio interviews, and documenting the ongoing project through their interactive website (themotherload.org). In the interactive component of the installation, visitors are asked to respond to this question: “In your life right now, what are you nurturing, and why?” Look for an upcoming post where we interview Robertson and Macellaio about The Mother Load.

Jessica Fuentes is the C3 Gallery Coordinator at the DMA.

Encountering Space in the New C3

Amy Copeland is the Coordinator of the Museum’s Go van Gogh outreach program to local elementary schools and a frequent blogger on the DMA Educator Blog. She has graciously agreed to share some of her experiences with the new exhibition in our Center for Creative Connections, aka C3. Last Saturday, more than 3,000 visitors helped us celebrate the opening of Encountering Space in the completely reconfigured C3 on National Museum Day. Stop by during Art in October, a monthlong celebration of the Dallas Arts District, for a chance to experience Encountering Space for yourself.

And now, here’s Amy . . .

One of my favorite things to do is poke around the Museum when exhibitions are being installed. I like seeing the bare walls pre-installation, and then watching as they get painted, and the vitrines begin to appear in the galleries, and objects are brought into the space, bringing it to life. I usually only catch glimpses of this process, but I’ve had a fun last few weeks walking through the Center for Creative Connections every day during the construction of the new Encountering Space exhibition. (My office is at the back of the space–lucky me!)

Below are pictures from the installation and a few from the opening day celebration last Saturday. They show just a fraction of this incredibly dynamic space, so I hope you’ll come explore it for yourself.

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Amy Copeland is the Coordinator of the Dallas Museum Art’s Go van Gogh outreach program


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