Posts Tagged 'Installation'

Who Are the Guerrilla Girls?

We’re excited to have selections from the Guerrilla Girls’ Portfolio Compleat on view through September 9, 2018, in the Rachofsky Quadrant Gallery. But you might be wondering “who are the Guerrilla Girls” . . .

In their own words:

The Guerrilla Girls are feminist activist artists. Over 55 people have been members over the years, some for weeks, some for decades. Our anonymity keeps the focus on the issues, and away from who we might be. We wear gorilla masks in public and use facts, humor, and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We have done over 100 street projects, posters, and stickers all over the world. . . . We also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls. . . . We could be anyone. We are everywhere. (guerrillagirls.com)

The Portfolio Compleat is a new acquisition to the DMA’s collection. The works span more than two decades, but many of them are now as relevant as ever. Since they started, the Guerrilla Girls have been prolific, accumulating a large catalogue over time. We chose to display the works as you see them below, so that visitors can read a large number of the posters and see the wide reach of their artistic complaints.

29009003548_cb01061c3d_o

The videos in this space point to issues like the lack of non-male, non-white representation within specific institutions. As a large, encyclopedic museum, the DMA could be listed among the museums under critique. In recent years, our curators have sought to be more inclusive in the works we show and collect. Currently on view are many works and multiple exhibitions by women artists. But, of course, this is an ongoing conversation with a long road ahead.

In the central seating area, we have provided books created by the Guerrilla Girls that are reminiscent of zines. Zines are self-published magazines or artist books associated with niche subcultures that are usually produced via photocopier and distributed for low to no cost. They gained popularity in the US in the 1990s as an artistic expression, but the format has long existed as a method of political dissent.

Many of the Guerrilla Girls’ works and books are available for purchase on the group’s website. They try to make them accessible to typical museum visitors rather than art collectors. This allows their viewers, and anyone who is so inclined, to become an art collector instead of perpetuating a system where the same one percent decide the direction of the art world. According to the group’s website, “Everything you buy supports our efforts to expose discrimination and corruption!”

Zines, posters, and Guerrilla-style videos are something that anyone can create for a relatively low cost. The Guerrilla Girls’ message is all about breaking down barriers to art to show that it can be cheap to create, easy to disseminate, and indiscriminate in whose message is important. This is also why they use the style of street advertising and employ humor and pop culture to get their message across.

42162936854_2a7942b3d8_o (1).jpg

The Guerrilla Girls are now internationally relevant and more active than ever. We are pleased to present this portfolio to the public and encourage its message of thoughtful and critical viewership.

Skye Malish-Olson is an Exhibition Designer at the DMA.

How to Install a Robert Smithson

A new rotation of artworks was recently installed in the Barrel Vault, our main contemporary art space. Included in this new installation are masterpieces by Jackson Pollock, Lee Krasner, and Hans Hofmann, as well as several newly acquired artworks. One of the highlights of the gallery is Robert Smithson’s Mirrors and Shelly Sand. The work is composed of approximately three tons of sand and 50 mirrors (glued back-to-back in pairs of two) lined up in a row, creating the illusion of infinity when you gaze into them. This engaging piece invites the viewer in and encourages interaction (but just of the mental variety—please remember not to touch!).

The piece becomes even more interesting when you know the process required to install it. It takes a lot of work and skill to transform the 125 buckets of sand and two crates of mirrors into the finished work of art. There are specific instructions from the artist on how the piece should be installed, but there will always be variances due to the nature of the materials. Thankfully for us, one of our Senior Preparators, Mary Nicolett, has installed the Smithson eight times and is a pro.

First our crew constructs a massive tent made of plastic. This keeps all of the sand contained and ensures that other artworks in the area are protected. On installation day, our stellar team of preparators (professional art handlers) put on their protective gear and prepare to get dirty. After the Registrar (me!) completes a condition report on all the mirrors, they are lined up based on the artist’s specifications and a small pile of sand is poured over them to keep them in place. Once all of the mirrors are in place, the real fun begins. Each preparator grabs a bucket of sand and begins pouring. Once all the buckets are empty, Nicolett begins smoothing the sand into the appropriate shape. At the end of the day, the dusty crew exits the tent to let the dust settle. The next day, the tent is removed and the finishing touches to the sand are completed.

Installation works like Mirrors and Shelly Sand allow our prep team to flex their creative muscles. While we do follow the instructions provided by the artist, the preparators are the ones who physically create the artwork as you see it. A good prep team is vital to any art institution as they are the ones who know the intricacies of a piece and how to safely install it. Thankfully for us, we have one of the best!

 

Katie Province is the Assistant Registrar for Collections and Exhibitions at the DMA.

A Barrel of Art

Next Friday, February 20 the DMA is opening three exhibitions (Frank Bowling: Map Paintings, Bold Abstractions: Selections from the DMA Collection 1966–1976, and Concentrations 58: Chosil Kil) in time for our February Late Night. Installation for these three exhibitions began last week, get a sneak peek at the works of art below and start planning your artful Late Night now.

 

CHOSIL_INSTALL_BLOG_FEB_2015_001 CHOSIL_INSTALL_BLOG_FEB_2015_002 CHOSIL_INSTALL_BLOG_FEB_2015_004 CHOSIL_INSTALL_BLOG_FEB_2015_005 CHOSIL_INSTALL_BLOG_FEB_2015_006 CHOSIL_INSTALL_BLOG_FEB_2015_007 CHOSIL_INSTALL_BLOG_FEB_2015_008 CHOSIL_INSTALL_BLOG_FEB_2015_009 CHOSIL_INSTALL_BLOG_FEB_2015_010 CHOSIL_INSTALL_BLOG_FEB_2015_012

Seldom Scene: Installing Form/Unformed

A look back at the installation of Form/Unformed: Design from 1960 to the Present, the first comprehensive overview of our modern and contemporary design collections, on view in the Tower Gallery. Work in the gallery began in October 2010 for the Decemeber 19, 2010 opening. Below are a few shots of the installation process.

DMA exhibition staff, including preparators John Lendvay and Lance Lander and exhibitions graphic designer Kevin Parmer, install the newly opened Form/Unformed: Design from 1960 to the Present in the Level 4 Tower Gallery.

Photography by Adam Gingrich, DMA Marketing Assistant.

 

 

Riding That Train

'Afternoon Train' (1944) by Doris Lee, a print in the DMA collection.

While famous songs about trains by Gladys Knight, the Grateful Dead, or Bob Marley* might not exactly bring to mind Dallas’s DART system, a quick, easy, and scenic trip to the Museum by light rail or trolley does offer much to sing about.  The DMA is a short walk from DART’s St. Paul Station, and the McKinney Avenue Trolley lets off visitors right at our front door.

Every day, more than 220,000 passengers ride trains, light rail, and buses to move across our city. Whether they’re on their way to the DMA and the Arts District or to another destination, everyone who rides DART encounters works of art. Through the Station Art & Design Program, local artists are commissioned to envision the design concept and theme for every DART station and to lead teams consisting of architects, engineers, designers, and contractors to create unique installations and environments at each stop. In addition to site-specific works of art—including mosaics, sculpture, and photography—the artists also design structural and functional elements like columns, pavers, and windscreens unique to each station.

Hatcher Station. Artist: Vicki Meek. Image: Courtesy DART

Lovers Lane Station. Design Artist: Pamela Nelson. Photo: Courtesy DART

Southwestern Medical District/Parkland Station. Artist: Susan Kae Grant. Image: Courtesy DART

If you travel through one of DART’s fifty-five stations, look for the work of some well-known members of Dallas’s artistic community, such as Benito Huerta, Vicki Meek, Susan Kae Grant, and Pamela Nelson, among many others. You might also encounter works by artists who are represented in the DMA’s collections. Tom Orr and Frances Bagley, for example, were individually commissioned by DART for several stations. Orr was the station artist at DART’s Bush Turnpike Station, which is surrounded by both a large freeway as well as open, green space. To respond to the location of the station, he designed large steel and wire columns that were planted with vines to create large-scale topiaries.

Tom Orr's Installation at the Bush Turnpike Station. Image: Courtesy DART

Frances Bagley served as the station artist for Union Station, Convention Center Station, and Cedars Station (all along the Blue and Red DART lines); on each project, Bagley collaborated with other artists to create installations that reflect the particular site of each station.

In 2009 Bagley and Orr collaborated on a gallery-scaled installation that was included in the DMA’s special exhibition Performance/Art. The piece was based on the pair’s design for the Dallas Opera’s 2006 production of Verdi’s Nabucco. The installation recalled the setting for the opera’s biblical story and portrayed the artists’ interpretation of the Euphrates riverbank, the idol of Baal, and the Hanging Garden of Babylon.

Mural Detail from Union Station. Image: courtesy DART

Tom Orr and Frances Bagley's Installation in the DMA's "Performance/Art" exhibition.

Take advantage of this great spring weather and DART to the art . . . but don’t forget to explore the works of art along the way. Use DART’s guides to learn more.

* Take a look at this list of one writer’s Top Ten Train Songs.

Lisa Kays is Manager of Adult Programming at the Dallas Museum of Art

Painting by Numbers

Our new installation Re-Seeing the Contemporary displays more than fifty works of the art from the DMA’s captivating contemporary collection. Some of the artists on view range from familiar abstract expressionists to lesser known artists at work today. As 2010 comes to a close, we thought it might be fun to take another look at the exhibition, re-seeing the exhibition into our own top ten list of interesting categories.

1. Paintings: 29

The majority of artworks in the exhibition are paintings.

Jackson Pollock, Cathedral, 1947 Dallas Museum of Art, gift of Mr. and Mrs. Bernard

 

Pollock changed the definition of painting—instead of painting on the wall or an easel, he laid the canvas on the floor and applied paint to it from above through pouring and dripping.

2. Sculptures off the wall: 9

Larry Bell, The Cube of the Iceberg II, 1975 Dallas Museum of Art, anonymous gift in memory of J. O. Lambert, Jr.

Although not your typical figurative sculpture, this work has a reflective quality that involves the viewer.

3. Sculptures on the wall: 5

Alan Saret, Deep Forest Green Dispersion, 1969 Dallas Museum of Art, gift of John Weber

Though sculptures are typically displayed using a base or plinth, this work also fits the category because of its three-dimensionality. Since the piece is made out of wire and hangs off of one nail, it must be reshaped with each installation, almost becoming a living thing like the plants or moss it resembles.

4. Collages: 3

Jess, Arkadia's Last Resort; or, Fete Champetre Up Mnemosyne Creek, 1976 Dallas Museum of Art, General Acquisitions Fund

Jess took images from various sources such as jigsaw puzzles, art books, advertisements, and store catalogues and combined them to create a collage in the shape of a landscape.

5. Works never shown before: 6

Jack Whitten, Slip Zone, 1971 The Rachofsky Collection and the Dallas Museum of Art through the DMA/amfAR Benefit Auction Fund

A new acquisition that has not yet been on view, Slip Zone adds to the DMA’s collection of postwar abstract art. Whitten created the unique design by pulling various objects across the wet painted surface.

6. Works by women artists: 5

A few of the female artists are represented in the exhibition:

Jackie Ferrara, A213 Symik, 1982 Dallas Museum of Art, anonymous gift

Susie Rosmarin, Gingham, 1998 Dallas Museum of art, gift of Mr. and Mrs. Bryant M. Hanley, Jr., in honor of Charles Wylie, The Lupe Murchison Curator of Contemporary Art

Anne Truitt, Come Unto These Yellow Sands II, 1979 Dallas Museum of Art, gift of Shonny and Hal Joseph (St. Louis, Missouri) in honor of Cindy and Armond Schwartz

7. Works by Texas artists: 2

Christian Schumann, Nomads, 1998-1999 Dallas Museum of Art, Texas Artists Fund

Christian Schumann graduated from Booker T. Washington High School for the Performing and Visual Arts, located just blocks away from the DMA.

8. Works with people: 11

Wallace Berman, Untitled, 1964 Dallas Museum of Art, General Acquisitions Fund

At first glance, this collage may appear to be a repetition of the same picture. Upon further inspection, though, you can see that each hand holds a transistor radio, which in turn frames images of people, animals, and objects.

9. Works with text: 14

Glenn Ligon, Untitled, 2002 Dallas Museum of Art, DMA/amfAR Benefit Auction Fund

Inclusion of text is a modern development which Ligon often uses in his art. As the text progresses, it becomes more and more unclear.

10. Works with hot pink: 3

Pink is the color of happiness and works including hot pink just make us smile.

Charline von Heyl, Untitled (3/00), III, 2000 Dallas Museum of Art, gift of Kathleen and Roland Augustine in honor of Robert Hoffman

This painting, a recent museum acquisition, recalls a tropical rainforest inhabited by abstracted animal-like forms. The shocking combination of colors—yellow, green, turquoise, and hot pink—draw your attention to the composition.

Over the holidays we hope you will visit the DMA to discover the countless connections you can make with Re-Seeing the Contemporary and with the larger DMA collection.

Haley Berkman is the McDermott  Curatorial Intern for Contemporary Art and Sarah Vitek is the McDermott Education Intern for Adult Programming at the Dallas Museum of Art.

Form/Unformed: Building a Collection of Modern and Contemporary Design at the DMA

As the curator of decorative arts and design for the DMA, I oversee a collection of nearly 8,000 works of American and European art. From 17th-century ceramic vases to 20th-century plastic chairs, these holdings are among the Museum’s most expansive and diverse. One aspect of this collection is a growing number of modern and contemporary international design objects, a selection of which has recently been installed in an exhibition in the Museum’s Tower Gallery, Form/Unformed: Design from 1960 to Present. In this installation, we showcase, for the first time, a perspective upon design of the last fifty years as seen through the lens of the DMA’s collections.

Zaha Hadid's coffee and tea service set.

Although the DMA began acquiring modern design of the 20th century nearly two decades ago, it has only been in recent years that opportunities to collect contemporary design have been taken, resulting in a host of new acquisitions, such as a tea service and bench by Pritzker Prize-winning architect Zaha Hadid and a witty assemblage of stuffed animals as a chair by the Brazilian design team of the Campana brothers. Many of the objects reflect a logical continuum with the Museum’s historic decorative arts works–whether by function as seating and tableware, or most plainly as aesthetic creations inspired by the era and cultural milieu in which they were fashioned. Even so, a few works in the exhibition, such as Giovanni Corvaja’s “The Golden Fleece” ring, reveal a new collecting interest within the department, that of jewelry. Just this year, over a dozen exceptional examples entered the collection, with yet more growth anticipated in the coming years. Such decisions to expand collecting areas are not made lightly, as resources must be carefully considered and such “new” areas of interest must be reviewed for their logical connections to the DMA’s other collections (in this instance, ancient Greek and pre-Columbian jewelry).

Robert J. King's Celestial Centerpiece.

Our new jewelry collecting efforts have been exciting, and as we continue to add new works in this area (and in other arenas of design), you will see additions to this exhibition and the Museum’s galleries–so keep a watchful eye!

Kevin W. Tucker is the The Margot B. Perot Curator of Decorative Arts and Design at the Dallas Museum of Art.


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

Join 1,452 other followers

Twitter Updates

Flickr Photo Stream