Posts Tagged 'Dallas Museum of Art'



Making Sense of Art

This October marks our tenth year of participation in Art Beyond Sight Awareness Month! Coordinated by Art Education for the Blind, Inc., Art Beyond Sight is dedicated to art education for people with vision impairment and to building an inclusive society for promoting access to all. Each October, the Dallas Museum of Art hosts hands-on activities, gallery discussions, art-making experiences, and artist demonstrations that focus on ways to experience art using senses other than vision.

Artist John Bramblitt joins several Art Beyond Sight programs throughout the month of October to talk about his process as a blind painter, and he leads workshops that include adaptive techniques for people with disabilities. Be sure to check out our full schedule of events to discover the variety of ways you can experience art using all your senses!

Emily Wiskera is the Manager of Access Programs at the DMA.

Telling Stories

The DMA has enlisted the help of C3 Visiting Artist Ann Marie Newman to reimagine five Egyptian stories. Each story depicts Egyptian deities, many of which are represented in the upcoming exhibition Divine Felines: Cats of Ancient Egypt. Newman’s take on these stories will be available at a listening kiosk in the educational space of the exhibition. Before you visit, learn a little more about Ann Marie Newman and her process.

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Tell us a little about yourself in fifty words or less.
I am a creative dreamer, storyteller, and artist. Using various materials and techniques, my sensory-rich, interactive stories are a unique fusion of colorful characters, improvisation, and fine art–inspired visuals. My love for people, stories, and art is made manifest through my life’s calling to be a storyteller, a “story sharer”!

How did you become interested in writing and storytelling?
In a purely organic way! I’ve always loved stories, hearing them told orally when I was small, and later, reading them in books. Being an intensely curious person, I discovered that folktales, legends, myths, and personal tales illuminated and helped me better understand the world and its people. Writing came about naturally as I embraced my creative need to tell the stories and to share my joy, love, and respect for them with others.

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Describe your process of reimagining the Egyptian stories for the Divine Felines educational space.
It starts with research: reading three or more versions of each myth, studying the images and descriptions of the gods and goddesses, looking at maps of Egypt, noting cultural details. I jot everything down in a mess of chaotic writing only I can decipher—LOL!

Then it’s like putting a jigsaw puzzle together, except I don’t have a picture on the box lid to use for a guide. Instead, I create a movie of the myth in my mind. I look at all the pieces and select a starting point, a dramatic statement that allows the story to unfold. During the movie, I note how I feel emotionally, how my body feels, what senses are awoken. If something doesn’t “feel” right, I go back and reimagine it until it does. The ability to daydream is huge for me, and I like best to do it in cozy little coffee shops for some reason. All these tales were written, except one, in a quaint little coffee shop along the Truckee River in Reno, Nevada.

Which story is your favorite and why?
Pick a favorite!?! I love them all. Under the surface of these myths lie deeply symbolic meanings and analogies about the human condition.

Take the myth of Sakhmet for instance. Sent by the gods to punish mankind, Sakhmet is the embodiment of the ferocious lioness on a hunt. Her destructive nature knows no constrain; she quickly begins exterminating mankind from the earth. She is eventually stopped, tricked by her own gluttony. She passes out cold. Upon awakening, she immediately falls in love with Ptah, a god whose name means Life and Stability. She forgets her past, marries Ptah, and they give birth to Nefertum, whose name means Mercy. Thus, Sakhmet’s destructive ferocity disappears when she embraces life and stability, and this brings mercy. The insightful wisdom in this myth makes it a favorite of mine.

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What did you enjoy most about working on this project?
Discovering the powerful, protective, clever “superwomen” goddesses of ancient Egyptian mythology. I have been a storyteller for over twenty years, and somehow I’d missed these amazing myths about strong, heroic women. They deserve more attention, and I am a very happy storyteller who can do just that.

I should also mention a cat owns me. His name is Leonidas and he is king of our home. After working on the myths, I enjoyed becoming more appreciative of his cat characteristics. He is a male, but he inhabits all the good traits of the goddesses, and even a few of the not so good, but he is still simply divine.

Visit Divine Felines: Cats of Ancient Egypt, on view October 9, 2016, through January 8, 2017, to see more than eighty objects featuring domestic cats, feline deities, cat burial practices, and luxury items decorated with feline features, as well as a small section on dogs. Be sure to stop in and listen to Ann Marie Newman’s reimagined Egyptian stories in the educational space.

Stop by the October 21 cat-themed Late Night for lectures and programs related to Divine Felines. Ann Marie Newman will perform stories of Warrior Goddesses of Ancient Egypt at 7:30 p.m. in the C3 Theater.

And mark your calendars for the upcoming Divine Felines–themed Gallery Talks by Dr. Anne Bromberg, The Cecil and Ida Green Curator of Ancient and Asian Art; storyteller Ann Marie Newman; and Aditi Samarth, Professor of Humanities.

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

Fairground Count Down

This Friday marks the opening day for the State Fair of Texas. As you countdown the days and plan your visit, get your fair-fix by stopping at the Center for Creative Connections (C3) to view these recently installed photographs by Texas based photographer, filmmaker, and journalist Geoff Winningham.

These are part of Winningham’s photographic series, “A Texas Dozen.” In total, twelve of the fifteen photographs from this series are currently on view at the DMA.

Jessica Fuentes is the Manager of Gallery Interpretation and the Center for Creative Connections at the DMA

Connecting Fibers

Alexandria Clifton and Kyli Brook are two students of UNT professor Lesli Robertson and both recent grads from the college’s Fibers program. Earlier this year, they set off to research the process of making traditional batik on the island of Java. They were tasked with the challenge (and we are so glad they accepted!) with producing eight batik samples that illustrate the complex creative process of traditional batik makers. These samples will be installed in Waxed: Batik from Java, opening this weekend on Level 3. (Read a little more about the process and the installation in this post.)

Clifton and Brook’s journey began with a trip to the DMA’s textile storage with curator Roslyn Walker and preparator Mary Nicolett to examine some of the textiles up close and personal. These works are incredibly detailed, and photos alone do not do them justice!
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Back in the studio on UNT’s campus, they mixed wax based on traditional Javanese recipes. The wax must be sufficiently durable to resist dye, but also removable. Their research determined that both hand-drawn and stamped batiks involve an initial application of a brittle but easily removable wax mix (klowong) followed by various applications of a stickier, more durable wax mix (templok). The ingredients for hand-drawn wax—their method of wax application—include paraffin, pine resin, beeswax, and fat. Wax for stamp application also includes eucalyptus gum. They used strips of fabric to test out the waxes.
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Today in Central Java, indigo dye is generally made from indigo paste, lime, and ferrous sulfate mixed with water. A soga brown dye mixture includes bark from various trees and shrubs. In an effort to be as authentic to the process as possible, Clifton and Brook also used natural dyes for their project. (Learn about UNT’s cool Natural Dye Garden here.)
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The design of their final eight samples is based on the motif of the red wraparound skirt (kain panjang) with blue clouds (megamenlang). Ultimately, the concentric outlines of this motif more clearly illustrate how to produce gradated hues with subsequent wax applications and dyeing; however, throughout their process the two tested a multitude of designs, all inspired by the DMA’s collection.
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During their research Clifton and Brook compiled a robust binder of samples and experiments and shared it with us. I was particularly impressed because even their notes are lovely!
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Not only are Clifton and Brook’s “finished” products on view in the exhibition, but visitors can actually touch and feel the samples. During the fall semester, we look forward to receiving a second set of batiks from Amie Adelman’s class. A HUGE thank you to our friends and colleagues from the UNT Fibers program for another wonderful collaboration!
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Andrea Severin Goins is the Head of Interpretation at the DMA.

Jade Jubilee: 35 Years of Concentrations

The year 2016 marks the 35th anniversary of the DMA’s Concentrations series, which was inaugurated in 1981 with paintings and monotypes by Richard Shaffer.

Concentrations I: Richard Shaffer, March 1–April 12, 1981

Initially planned as a series of five exhibitions exploring the work of living artists, Concentrations has grown into a long-running series featuring emerging and international artists working across a range of media, including painting, drawing, sculpture, photography, film and video, assemblage, and site-specific installations. Over the history of the series, nine curators have organized Concentrations exhibitions: Sue Graze (21), Steven A. Nash (1), Joan Davidow (3), Dave Hickey (1), Annegreth Nill (1), Charles Wylie (4), Suzanne Weaver (22), Jeffrey Grove (2), and Gabriel Ritter (5).

In celebration of the anniversary, I’ve pulled together some fun facts about the series with installation photos to illustrate them.

1. How many Concentrations exhibitions were held primarily outdoors in the Sculpture Garden?

Answer: Four, although there were a few exhibitions that had work in the Sculpture Garden in addition to the works in the galleries

Concentrations 8: Dalton Maroney, October 10, 1983–February 19, 1984

Concentrations 8: Dalton Maroney, October 10, 1983–February 19, 1984

Concentrations 9: Richard Long, March 31–July 8, 1984

Concentrations 9: Richard Long, March 31–July 8, 1984

Concentrations 11: Luis Jimenez, February 17–March 31, 1985

Concentrations 11: Luis Jimenez, February 17–March 31, 1985

Concentrations 51: Mark Handforth, March 23–September 23, 2007

Concentrations 51: Mark Handforth, March 23–September 23, 2007

Concentrations 8: Dalton Maroney was also the first exhibition held at the new Museum building downtown. It opened with the Sculpture Garden a few months before the Museum building.

2. What two exhibition series are related to Concentrations?

Answer: Projects and Encounters

Projects I: David McManaway, March 19-April 27, 1975

Projects I: David McManaway, March 19-April 27, 1975

Projects was a series of three exhibitions in 1975 curated by Robert Murdock, Curator of Contemporary Art. The three exhibitions in the series featured work by David McManaway, Bruce Cunningham, and Raffaele Martini. The series inspired the creation of the Concentrations series in 1981 by Curator of Contemporary Art Sue Graze.

Encounters was a series of six exhibitions held between 1992 and 1995 that were presented in place of Concentrations. The series, created and curated by Curator of Contemporary Art Annegreth Nill, paired the work of a regional artist with that of an artist from the national or international arena to increase potential dialogue.

Encounters 1: John Hernandez and Rainer Ganahl, February 23–April 19, 1992 - John Hernandez

Encounters 1: John Hernandez and Rainer Ganahl, February 23–April 19, 1992 – John Hernandez

Encounters 1: John Hernandez and Rainer Ganahl, February 23–April 19, 1992 - Rainer Ganahl

Encounters 1: John Hernandez and Rainer Ganahl, February 23–April 19, 1992 – Rainer Ganahl

3. Concentrations exhibitions have primarily been one-person shows, with a few duos (Peter Fischli/David Weiss, Jane and Louise Wilson, and Jennifer Allora and Guillermo Calzadilla) and one collective (Slavs and Tatars). How many have shown the work of two or more artists working separately?

Answer: Six

Concentrations III: Betsy Muller/Andrea Rosenberg, June 21–August 2, 1981

Concentrations III: Betsy Muller/Andrea Rosenberg, June 21–August 2, 1981

Concentrations 23: Texas Figurative Drawings, May 19–July 15, 1990

Concentrations 23: Texas Figurative Drawings, May 19–July 15, 1990

Concentrations 24: Continuities of Concern, June 2–August 5, 1990

Concentrations 24: Continuities of Concern, June 2–August 5, 1990

Concentrations 32: Anne Chu and Bonnie Collura, October 15, 1998–January 17, 1999

Concentrations 32: Anne Chu and Bonnie Collura, October 15, 1998–January 17, 1999

Concentrations 54: Matt Connors and Fergus Feehily, April 3-August 14, 2011

Concentrations 54: Matt Connors and Fergus Feehily, April 3-August 14, 2011

Concentrations 59: Mirror Stage, Visualizing the Self After the Internet, April 10-December 6, 2015

Concentrations 59: Mirror Stage, Visualizing the Self After the Internet,
April 10-December 6, 2015

4. How many artists have been part of a Concentrations exhibition?

Answer: 81 – This includes the twelve artists in Concentrations 23: Texas Figurative Drawings and counts the collective Slavs and Tatars from Concentrations 57 as one artist. Concentrations 24: Continuities of Concern is not included. About 40% of the artists are women.

I will close with a few more images from past Concentrations exhibitions to show the variety of work over 59 shows. More information on these and all Concentrations exhibitions can be found in Past Exhibitions on DMA.org. Concentrations 60: Lucie Stahl will open on September 16. Admission is FREE.

Concentrations IV: Alain Kirili, Recent Sculpture, October 18–November 29, 1981

Concentrations IV: Alain Kirili, Recent Sculpture, October 18–November 29, 1981

Concentrations 14: Pat Steir, The Brueghel Series, November 1, 1986–January 4, 1987

Concentrations 14: Pat Steir, The Brueghel Series, November 1, 1986–January 4, 1987

Concentrations 16: Mary Lucier, Wilderness, October 10–November 22, 1987

Concentrations 16: Mary Lucier, Wilderness, October 10–November 22, 1987

Concentrations 17: Vernon Fisher, Lost for Words, January 23–April 17, 1988

Concentrations 17: Vernon Fisher, Lost for Words, January 23–April 17, 1988

Concentrations 20: Kiki Smith, January 14–April 16, 1989

Concentrations 20: Kiki Smith, January 14–April 16, 1989

Concentrations 25: Harry Geffert, November 23, 1990–January 20, 1991

Concentrations 25: Harry Geffert, November 23, 1990–January 20, 1991

Concentrations 26: Celia Alvarez Munoz, Abriendo Tierra/ Breaking Ground

Concentrations 26: Celia Alvarez Munoz, Abriendo Tierra/ Breaking Ground, May 4-June 30, 1991

Concentrations 30: Mariko Mori, Come Play with Me, September 17–November 9, 1997

Concentrations 30: Mariko Mori, Come Play with Me, September 17–November 9, 1997

Concentrations 31: Patrick Faulhaber, June 25–September 13, 1998

Concentrations 31: Patrick Faulhaber, June 25–September 13, 1998

Concentrations 40: Maki Tamura, November 7, 2001–January 27, 2002

Concentrations 40: Maki Tamura, November 7, 2001–January 27, 2002

Concentrations 47: Jim Lambie, Thirteenth Floor Elevator, May 20–August 21, 2005

Concentrations 47: Jim Lambie, Thirteenth Floor Elevator, May 20–August 21, 2005

Concentrations 48: Charline von Heyl, October 28, 2005– January 8, 2006

Concentrations 48: Charline von Heyl, October 28, 2005– January 8, 2006

Concentrations 49: Miguel Angel Rios, “A Morir ('til Death)”

Concentrations 49: Miguel Angel Rios, “A Morir (’til Death)” January 29-May 14, 2006

Concentrations 55: Karla Black, October 19, 2012-March 17, 2013

Concentrations 55: Karla Black, October 19, 2012-March 17, 2013

 

Hillary Bober is the Archivist at the Dallas Museum of Art.

Meet the McDermott Interns

 

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September is already upon us, which means it’s once again time to meet our new McDermott Interns. Each year we offer nine internship positions—four in the Museum’s Education Department and five in the Curatorial Department—to talented individuals who are interested in exploring museum careers. Established in 1974, the McDermott Internship Program allows interns to work closely with staff throughout the Museum and provides opportunities for individual contributions. Below you’ll find some brief background information on our brilliant new bunch, along with their official positions.

Grace Diepenbrock
McDermott Intern for Family and Access Teaching
Grace completed her BA in Studio Art at Mars Hill University in North Carolina. She most recently served as the Family Programs Assistant at the High Museum of Art in Atlanta, where she led programs for families and early learners. Grace has also held positions with the EdVenture Children’s Museum and the Madison County Arts Council, where she developed the curriculum for an art-based afterschool program.

Kelly Filreis
McDermott Graduate Intern for Contemporary Art
Kelly received her BFA in Print/Paper/Book from Minneapolis College of Art and Design and recently completed her MA in Art History from the University of California, Riverside. While at UCR, Kelly served as the Art History Graduate Student Association Vice President and coordinated the 2016 Art History Graduate Student Conference. She has also worked with multiple galleries in Minneapolis to coordinate exhibitions and special artist projects.

Sara Greenberg
McDermott Graduate Intern for Adult Programming and Arts & Letters Live
Sara completed her BA in Art History at the University of Denver and recently earned her MA in Art History from the University of California, Riverside. As a collections intern at the California Museum of Photography, she initiated a print viewing program to provide increased accessibility to the collection. While in Denver, Sara held internships at the Museum of Contemporary Art and the Denver Art Museum, where she helped organize their monthly late night program, Untitled Final Friday.

Angela Medrano
McDermott Intern for Gallery and Community Teaching
Angela recently earned her BA from Dickinson College in Pennsylvania, where she majored in American Studies. During her time at Dickinson, Angela founded a program for university student volunteers to learn and teach American Sign Language to early learners at the Dickinson College Children’s Center. Angela also worked with the university’s Trout Gallery to facilitate art-based wellness programs and programs for K–12 visitors.

Dana Olesch
McDermott Intern for Ancient American Art
Dana recently earned her BA in Anthropology and History from Beloit College in Wisconsin. During her time at Beloit, Dana served as a teaching assistant for multiple courses and worked with the college’s Logan Museum of Anthropology to create teaching materials for high school and college students based on the museum’s Andean and North American collections. She has also participated in archaeological excavations of domestic sites in Virginia and Peru.

Francesca Soriano
McDermott Intern for American Art
Francesca recently earned her BA in Art History from Colby College in Maine. While completing her degree, Francesca worked with the Colby College Museum of Art in various roles, including that of curatorial intern, student docent, and co-chair of the Student Advisory Board. She has also held internships with galleries in New York, Paris, and Berlin, during which she gained experience in development, communications, and exhibitions.

Marta Torres
McDermott Graduate Intern for Visitor Engagement
Marta earned her BA in Arts and Humanities from the University of Puerto Rico at Cayey and her Masters in Art Education with an emphasis on Museology from Caribbean University. Marta has worked with multiple departments at the Dr. Pio Lopez Martinez Museum of Art in Cayey, gaining experience in education, collections, and curatorial research. She also held a position researching and organizing the archives of artist Antonio Martorell.

Amy Wojciechowski
Dedo and Barron Kidd McDermott Graduate Intern for European Art
Amy received her BA in History from Oberlin College and holds her MA in the History of Art from Bryn Mawr College, where she is in the process of completing her PhD. Amy curated an exhibition of special collections at Bryn Mawr’s Carpenter Library and has also held a curatorial internship with the Philadelphia Museum of Art, where she contributed to an exhibition on Fernand Léger. She has also served as a student docent and education intern at Oberlin’s Allen Memorial Art Museum.

Megan Zembower
McDermott Intern for African Art
Megan recently completed her BA in Art History and French at Denison University in Ohio. While at Denison, Megan held positions as a teaching assistant and as a research assistant, working with her professor to organize an exhibition of contemporary art at Kenyon College’s Gund Gallery. Megan has also conducted architectural research on the Simon Jude Chancognie House, a historic 19th-century home located in Charleston.

Sarah Coffey is the Education Coordinator at the DMA. 

Meet Our Director

This month marks the arrival of the DMA’s new Eugene McDermott Director, Agustín Arteaga. Uncrated sat down with him in the Museum galleries to get to know him a bit better:


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