Posts Tagged 'Diego Rivera'

Once Upon a Time in Mexico

Tomorrow night, July 13, we are celebrating Mexico of the past and present with our Second Thursday program, Off the Wall to kick off our closing weekend of Mexico: 1900-1950. Since this exhibition is all about telling the stories of Mexico and the artists who documented its history and people, we thought Once Upon a Time in Mexico would be the perfect way to encapsulate the evening. We have so much going on all evening, tours, music, crafts, and more and each activity connects back and tells a story about an artwork in the exhibition.

Murals are such a large portion (literally) that connects the exhibition together, so we wanted to highlight murals as an art form. All night you will be able to watch as the artist collective Sour Grapes create a mural inspired by the exhibition on Eagle Family Plaza. Sour Grapes has been around since 2005 and you can’t drive around Dallas without seeing their work on walls and buildings. Even though we have a few murals to choose from, this one was a visitor favorite and with its bold colors and the scale of the work, you can see why.

Diego Rivera, Juchitán River (Río Juchitán), 1953–1955, oil on canvas on wood, Museo Nacional de Arte, INBA, Mexico City Assigned to the Instituto Nacional de Bellas Artes through the Sistema de Administración y Enajenación de Bienes of the Secretaría de Hacienda y Crédito Público, 2015 © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New

Artists like, Gunther Gerzso, Leonora Carrington, and Alice Rahon, all featured in the exhibition, were important players in the Surrealist movement in Mexico. This movement encouraged artists to unlock their subconscious and use their imagination to create a new world on the canvas.  Spend a few minutes with friends putting yourself into the minds of the Surrealists with the game, Exquisite Corpse. In the game, a piece of paper is folded into sections and passed around; the challenge is that each artist must work on one particular segment without having seen the others. The results are sometimes crazy and monstrous but always hilarious.

Gunther Gerzso, The Days of Gabino Barreda Street, 1944, oil on canvas, Lent by private collection

On the Before Mexico, was Mexico tours, we have Dr. Kimberly Jones the DMA’s Assistant Curator of the Arts of the Americas speaking on our Pre-Columbian collection in English and Spanish. Pre-Columbian art was an enormous influence on many of the artists represented in the exhibition. Just one example is the mural by Saturnino Herrán entitled Our Gods, which shows a group of Aztec people during a ritual to the god, Coatlicue.

To finish up your night, don’t miss Mariachi de Oro performing the upbeat music of Western Mexico. Mariachi has been around since at least the 18th century and is a large part of Mexico’s cultural history. Around the 1920’s when the piece below was painted, Mariachi music was being broadcast on the radio for the first time, and instruments like the trumpet were being infused into the arrangements because of the growing popularity of jazz and Cuban music.

Don’t miss out on a fun filled evening celebrating the closing weekend of Mexico: 1900-1950. We are going to miss this exhibition once it is gone next Monday, but thankfully, we have a few pieces that are staying with us! These images below among others will still be in the DMA’s collection and can be enjoyed many times to come after Mexico is over.

Don’t forget to join us tomorrow from 5:00-9:00 p.m. for July Off the Wall: Once Upon a Time in Mexico. The cost is $5 for the public and free for DMA Members. An additional $10 ticket is required to see the exhibitions that evening.

Katie Cooke is Manager of Adult Programming at the DMA

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

 

Mexico at the DMA: A History

Last week the exhibition México 1900-1950 opened to big crowds, but it is just the most recent DMA exhibition to focus on the art and artists of Mexico. The first known exhibition to feature Mexican art was a solo exhibition in February 1933 of paintings and drawings by Roberto Montenegro. Work by Montenegro is included in the current exhibition and the DMA’s permanent collection.

Roberto (Nervo) Montenegro, Mexican Woman (Tehuana), n.d., lithograph, Dallas Museum of Art, gift of the Dallas Print Society in memory of Edwin B. Hopkins, 1941.5

Over the 114-year history of the DMA, with the Dallas Museum for Contemporary Arts (1957-1963) exhibition history included, 38 known exhibitions (including México 1900-1950) have featured Mexican art and artists, ranging from ancient and pre-Columbian to modern and contemporary. Of the 38, almost half included work by Mexican modernists who also have pieces in the current exhibition. The DMA held solo and group exhibitions for artists Carlos Merida, Roberto Montenegro, Diego Rivera, David Alfaro Siqueiros, Rufino Tamayo, Gunther Gerzso, Leonora Carrington, and Jose Posada, as well as numerous survey shows of work by Mexican modernists.

One of the largest exhibitions of the work of Mexican modernists was Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988.

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Like México 1900-1950, Images of Mexico was so large, that it needed to be installed in multiple galleries throughout the building. The main portion of the exhibition was located in the Level 2 European and American Galleries, with additional works in the Barrel Vault, Concourse, Focus I Gallery and the Print and Textile Gallery (now Focus II gallery).

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in the Barrel Vault

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988; Concourse

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in Focus Gallery I

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988 in Focus Gallery II

At least two works in México 1900-1950 are making their second visit to Dallas. Both Olga Costa’s La vendedora de frutas, 1951, and Saturnino Herrán’s Nuestros dioses, 1918, were part of Images of Mexico.

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Installation of Images of Mexico: The Contribution of Mexico to 20th Century Art, August 28-October 30, 1988

Another primary feature of the México 1900-1950 exhibition is that it includes exhibition text and labels in both English and Spanish. The first DMA exhibition to include labels in English and Spanish was Maya Miniatures and Other Textiles for the Saints, November 19, 1985-January 19, 1986. The exhibition displayed Maya textiles from Guatemala.

Installation of Maya Miniatures and Other Textiles for the Saints, November 19, 1985-January 19, 1986

Installation of Maya Miniatures and Other Textiles for the Saints, November 19, 1985-January 19, 1986

 

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

 

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.

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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.

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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.

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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