Artifacts Spring 2024

SPRING 2024•MEMBER MAGAZINE• THE IMPRESSIONIST REVOLUTION ISSUE

DIRECTOR’S LETTER

Providing access to art for all is an essential tenet of our institution and has been woven into the fabric of all that we do as we look forward to a new DMA.

Dear Members,

I’m thrilled to share some amazing new developments since our last edition of Artifacts. Providing access to art for all is an essential tenet of our institution and has been woven into the fabric of all that we do as we look forward to a new DMA. We leapt into the new year with a collection of free community days celebrating the exhibitions Afro-Atlantic Histories and Abraham Ángel: Between Wonder and Seduction, thanks to the generosity of our supporters, as well as a full weekend in celebration of Afro-Atlantic Histories. Furthering our commitment to serve our community through free and accessible art experiences, we were proud to kick off 2024 with FREE First Sundays: Access for All. This new offering expands the Museum’s free general admission to include all ticketed exhibitions on the first Sunday of each month. Our community has already shown so much enthusiasm for this new offering, and I look forward to seeing many more guests experience our current and upcoming exhibitions during FREE First Sundays. Our youngest art lovers discovered their inner artist during the Museum’s annual Family Festival in the autumn and at our free Spring Break Family Fun events. It’s inspiring to see these young people broaden their horizons by tapping into their own creativity and making new discoveries through DMA programming.

Many new artworks spanning time and geography were accessioned into the DMA’s collection, including new works of contemporary art through the support of the TWO x TWO for AIDS and Art Fund, and the DMA

galleries have been enlivened by exciting new exhibitions. When You See Me: Visibility in Contemporary Art/History aims to broaden and complicate official histories and their corresponding visual strategies to allow for richer representations of those who have traditionally been excluded or erased. Featuring nearly 60 works by a diverse, intergenerational group of artists who contend with visibility both socially and formally, this exhibition explores invisibility, hypervisibility, the desire to be seen, and the right to be private. Rounding out the year of Beyoncé, Barbie, and Taylor Swift, we premiered the exhibition He Said/She Said: Contemporary Women Artists Interject in December. In February we debuted a radical reintroduction to Monet, Matisse, Van Gogh, Degas, and more of your favorite names in art history in The Impressionist Revolution from Monet to Matisse. Organized by the DMA and co-presented by Texas Instruments and PNC Bank, The Impressionist Revolution illuminates the rebellious origins and legacy of the Impressionist collective within European modernism. Be sure to take advantage of your member benefit of free exhibition tickets!

For the past several months, we’ve had the honor of hosting a true VIP. Frida Kahlo returned to the DMA at the end of the summer and found a home on the second floor of the Museum among some of her fellow Surrealists. Our guests had fun finding the long-term loan painting Self-Portrait with Loose Hair

during our #FindingFrida social media contest. If you haven’t found Frida yet, be sure to greet her with a big Texas “howdy” on your next visit!

On May 4, the City of Dallas will hold a bond election. We invite you to vote YES on Proposition E to distribute $75.2 million in much-needed funds to arts and culture facilities throughout Dallas, including the DMA. These dollars are not about anything new or shiny. Instead, they will fund necessities like HVAC and fire control in our City-owned facility, allowing our generous supporters to do the rest to reimagine the Dallas Museum of Art. Our Master Facilities Planning Task Force remains hard at work creating a thoughtful bridge between the architecture selection process and project design for the new DMA. We’ll provide updates as this exciting endeavor progresses.

It is thanks to you, our members, that we can continue our work to enrich the Dallas community through creative programming and thought-provoking exhibitions. We look forward to sharing more unforgettable art encounters with you!

Agustín Arteaga

The Eugene McDermott Director

Above: Ivy in Flower, 1953. Henri Matisse. Colored paper, watercolor, pencil, and brown paper tape on paper mounted on canvas. Dallas Museum of Art, Foundation for the Arts Collection, gift of the Albert and Mary Lasker Foundation, 1963.68.FA. © 2024 Succession H. Matisse / Artists Rights Society (ARS), New York.

CALENDAR HIGHLIGHTS

R. BRETTELL LECTURE

For the most up-to-date calendar information, visit dma.org.

APRIL

Arts & Letters Live

Elizabeth Acevedo in conversation with Samantha Mabry, SMU Tuesday, April 16, 7:30 p.m.

Arts & Letters Live

Leigh Bardugo in conversation with Joanna Johnson, UT Arlington Thursday, April 18, 7:30 p.m.

Art in Thirty: Gallery Talk Friday, April 19, noon

Bombshell Dance Company Interactive Performance

Saturday, April 20, 1:00 p.m.

Richard R. Brettell Lecture

The Day Impressionism Began Saturday, April 20, 2:00 p.m.

Arts & Letters Live

An Evening with David Sedaris

McFarlin Auditorium, SMU

Thursday, April 25, 7:30 p.m.

Travis TAG Takeover: Student Celebration

Friday, April 26, 5:00–8:00 p.m.

DMA League Overnight Trip to Santa Fe

La Fonda, O’Keeffe, Folk Art, and Cooking!

Monday, April 29–Thursday, May 2

Open to all DMA League members

MAY

Wee Wednesday Wednesday, May 1, 11:00 a.m.–2:00 p.m.

FREE First Sundays Sunday, May 5, 11:00 a.m.–5:00 p.m.

Arts & Letters Live

Ruth Reichl in conversation with Krys Boyd, KERA Sunday, May 5, 7:30 p.m.

DMA Circle Reception

When You See Me: Visibility in Contemporary Art/History Wednesday, May 8

Open to DMA Members at the Contributor level and up

DMA Members Tour

When You See Me: Visibility in Contemporary Art/History Friday, May 10, noon–1:00 p.m.

Docent-led tour for all DMA Members

Museum Murder Mystery Game Saturday, May 11, 8:00 p.m.

DMA League Docent-Led Tour

From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art Thursday, May 16

Open to all DMA League members

Boshell Family Lecture Series on Archaeology

Becoming Christian Together: Arts of Ethiopia, Nubia, and Byzantium

Saturday, May 18, 2:00 p.m.

Arts & Letters Live

Erik Larson in conversation with JK Nickell, Texas Monthly

First United Methodist Church Saturday, May 18, 7:30 p.m.

MUSEUM MURDER MYSTERY

Arts & Letters Live

Nicholas Kristof in conversation with Krys Boyd, KERA Wednesday, May 22, 7:30 p.m.

Arts & Letters Live

Kevin Kwan in conversation with Cornelia Guest Thursday, May 30, 7:30 p.m.

JUNE

FREE First Sundays

Sunday, June 2, 11:00 a.m.–5:00 p.m.

Summer Art Camps begin Monday, June 3, 9:00 a.m.

DMA Circle Tour

The Impressionist Revolution from Monet to Matisse

Friday, June 7

Open to DMA Members at the Contributor level and up Museum Forum for Teachers

Monday, June 10–Friday, June 14, 10:00 a.m.–4:00 p.m.

Art in Thirty: Gallery Talk

Friday, June 14, noon

Arts & Letters Live

Doris Kearns Goodwin

Presented in partnership with World Affairs Council of Dallas/Fort Worth

Moody Performance Hall

Friday, June 14, 7:00 p.m.

Late Night Pride Block Party

Friday, June 21, 6:00 p.m.

Arts & Letters Live

Tracy Chevalier

Tuesday, June 25, 7:30 p.m.

DMA Members Tour

He Said/She Said:

Contemporary Women Artists Interject

Friday, June 28, noon–1:00 p.m.

Docent-led tour for all DMA Members

JULY

FREE First Sundays

Sunday, July 7, 11:00 a.m.–5:00 p.m.

Arts & Letters Live

Joyce Maynard Friday, July 12, 7:30 p.m.

Arts & Letters Live

Deborah Harkness Thursday, July 25, 7:30 p.m.

AUGUST

FREE First Sundays Sunday, August 4, 11:00 a.m.–5:00 p.m.

ON VIEW EXHIBITIONS

Catch these exciting exhibitions on view now!

Looking Forward: A New DMA

Ongoing

Looking Forward: A New DMA is part of the DMA’s strategic vision to transform our facilities to better serve our community and accommodate our growing collection. Visit our public presentation of concepts created by the short-listed firms, and learn more at competitions.malcolmreading.com/ dallasmuseumofart.

He Said/She Said: Contemporary Women Artists Interject

On view through July 21, 2024

The women artists featured in this show reference art history to argue for their inclusion in the canon that has long ignored their contributions. Ranging from participants in the feminist movement of the 1970s to young artists inspired by Surrealism, they use their work to critique gender norms, sexism, and racism.

Many, especially from the postmodern period of the 1970s to 1990s, appropriate elements from works by male artists, some of which are included in the show. They thus question the myth of the sole male genius to create space for new, more inclusive narratives.

Love Island: Japanese Weddings of the Edo Period

On

view through October 6, 2024

This presentation explores the exquisite artistry and craftsmanship of some of the important elements of an Edo period bridal trousseau, and touches on the strategic alliances that were created between Edo Japan’s Tokugawa shogunate and daimyo (provincial feudal lords) through matrimony. Featuring a selection of elegant bridal objects on loan from the Museum of Fine Arts, Houston, this installation includes a toilette set that once belonged to a member of the Tokugawa ruling clan, an incense guessing game set, and a lavish wedding kimono.

The Impressionist Revolution from Monet to Matisse

On view through November 3, 2024

Featuring nearly 90 works from the DMA's extraordinary holdings, this exhibition delves into the rebellious origins of the Impressionists and their revolutionary exhibitions, exploring the experimental techniques and subjects that set a new course for modern art in the late 19th and early 20th centuries. The unique innovations of the group's core members, including Claude Monet, Edgar Degas, and Berthe Morisot, are showcased alongside the responses of successive generations of avant-garde artists, from Paul Gauguin and Vincent van Gogh to Piet Mondrian and Henri Matisse.

Learn more on page 11.

Images: Shogunal wedding set, 18th century. Unknown Japanese artist. Wood and lacquer with gold and silver maki-e, gilt bronze, and fur. The Museum of Fine Arts, Houston, Museum purchase funded by Mitsubishi Caterpillar Forklift America Inc. in honor of its 15th anniversary; Nanako and Dale Tingleaf; the Japan Business Association of Houston; Stephen Hamilton; Dr. Ninan and Sushila Mathew; Barbara E. Butler; Keiji Asakura; and Mr. and Mrs. Jesse Lee Dunn III, 2006.388.1–.14. Photograph © The Museum of Fine Arts, Houston; Thomas R. DuBrock; Installation view, The Impressionist Revolution from Monet to Matisse, Dallas Museum of Art.

ON VIEW EXHIBITIONS

From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art

On view through January 5, 2025

From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art celebrates the legacy of Marie “Elinor” Heins through the recent gift from her heirs of 30 paintings, sculptures, and works on paper. Between 1967 and her death in 2018, Heins amassed an impressive collection of modern artworks. The Heins collection is divided evenly between late 19th- and early 20th-century art movements: Impressionism, PostImpressionism, and German Expressionism, Heins’s favorite. Highlights include works by Pierre-Auguste Renoir, Paul Signac, Henri de Toulouse–Lautrec, and Edvard Munch.

When You See Me: Visibility in Contemporary Art/History

On view through April 13, 2025

This exhibition features artists whose work broadens and complicates official histories and their corresponding visual strategies to allow for a richer representation of the lived experiences of those who have been excluded, often on account of their race, gender, sexual orientation, or nationality. Employing a wide range of formal and conceptual devices— from abstraction to figuration, fiction to documentary, and the shades of nuance in between—the featured artists, including Pacita Abad, Ryan Trecartin & Lizzie Fitch, David Hammons, Simone Leigh, Deborah Roberts, Salman Toor, and Danh Vo, explore invisibility, hypervisibility, and the desire to be seen—or not seen.

Learn more on page 21.

Images: Still Life with Lilies (detail), 1917. Ernst Ludwig Kirchner. Oil on canvas. Dallas Museum of Art, gift of Cornelia and Ralph Heins in memory of Elinor Heins, 2019.82.3; The Ascendants XVIII (She Is Here And So Are You) (detail), 2021. Wangari Mathenge. Oil on canvas. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2022.27. © Wangari Mathenge. Courtesy of the artist and Roberts Projects, Los Angeles and Pippy Houldsworth Gallery, London.

Backs in Fashion: Mangbetu Women’s Egbe

On view through August 3, 2025

Bold-patterned egbe (singular: negbe) are back aprons made of plantain leaves worn by aristocratic Mangbetu women on special occasions from the turn of the 20th century until around 1980. Thus attired, the women welcomed visitors to the magnificent Mangbetu kingdom in presentday Democratic Republic of the Congo. Backs in Fashion presents 16 back aprons in different styles and patterns, along with period photographs, and explains what motivated fashionable Mangbetu women to create the new fashion in the first place.

Tiffany Chung: Rise Into the Atmosphere

On view through August 3, 2025

The sixth iteration of the Museum’s Concourse mural series, Rise Into the Atmosphere features a multisensory installation by artist Tiffany Chung. The artist collaborated with approximately 30 international musicians, including Syrians in exile, who drew from memories of home and the experience of being forcefully uprooted. This mural reminds us of the power of music and the visual arts to bring back beauty, humanity, and hope, expanding beyond today’s media-saturated images of “conflict zones.”

Images: Installation view, Backs in Fashion: Mangbetu Women’s Egbe, 2023. Dallas Museum of Art; Installation view, Tiffany Chung: Rise Into the Atmosphere, 2023. Dallas Museum of Art, © Tiffany Chung.

EXHIBITION SPOTLIGHT

On view through November 3, 2024

Images: The Seine at Chatou (detail), 1874. Pierre-Auguste Renoir. Oil on canvas. Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.62; Portuguese Still Life, 1916. Robert Delaunay. Oil on canvas. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.31.McD.

...

the rebellious origins of the independent collective known as the Impressionists and the revolutionary course they charted for modern art...

The Impressionist Revolution from Monet to Matisse explores the fascinating story of Impressionism from its birth in 1874 to its legacy in the early 20th century. Told almost entirely through the DMA’s exceptional holdings, this exhibition reveals the rebellious origins of the independent artist collective known as the Impressionists and the revolutionary course they charted for modern art. Below is a Q&A with the curator of the exhibition,

Dr. Nicole R. Myers

Chief Curatorial and Research Officer

and The Barbara Thomas Lemmon Senior Curator of European Art

What makes this exhibition different from other presentations of Impressionist works?

I started this project with the relatively straightforward goal of telling the story of Impressionism entirely through the DMA’s extraordinary holdings. But I didn’t want to stop there. I wanted also to look at the Impressionists’ comprehensive impact on their avant-garde peers, as well as those who came up through the ranks shortly after.

EXHIBITION SPOTLIGHT

Image: The Path in the Garden (detail), 1886. Gustave Caillebotte. Oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.5.McD.

It can seem as if the Impressionists’ most radical innovations—the bright, anti-naturalistic palette, semi-abstract application of paint, and fixation on depicting the experience of modern living—ended in 1900, at which point the art world pivoted to something completely new. Monet, Degas, Renoir, and Cassatt all lived to see the development of new avant-garde styles, such as Cubism and Fauvism, whose roots stem from the revolution they started with their cohort 40 years prior. The story of Impressionism is not simply about the artists who adopted or adapted their tenets, but also about those who reacted against them. And this is the story that’s told in our show.

How is this exhibition unique to Dallas?

Thanks to the generosity of the Munger Fund, two of the DMA’s most extraordinary holdings of this material—Monet’s Seine at Lavacourt and Pissarro’s Apple Harvest—were acquired in 1938 and 1955. The majority of the world-class collection featured in our exhibition came under the DMA’s roof in the last 30 years as some of our city’s greatest acts of philanthropy.

Wendy and Emery Reves’s staggering gift in 1985 added 70 stunning paintings and works on paper by French avant-garde artists such as Cézanne, Degas, Gauguin, Morisot, Pissarro, Renoir, Seurat, Toulouse-Lautrec, and Van Gogh, among many others. From that moment forward, the DMA’s holdings of Impressionism and Post-Impressionism steadily grew through important gifts and purchases by local collectors and organizations, including the Foundation for the Arts and the Eugene and Margaret McDermott Art Fund, which were established to benefit the Museum by building its global holdings. In 2018 the final bequest to the Eugene and Margaret McDermott Art Fund of 32 Impressionist and modernist masterpieces from the McDermotts’ private collection, which includes examples by Caillebotte, Degas, Monet, Pissarro, Renoir, Sisley, and Signac, solidified the DMA’s place among the top collections of this artwork in the country.

There are significant collectors of this material in our local community, and I’m thrilled to be able to include a selection of incredible privately held paintings in the exhibition.

If visitors to this exhibition take away one thing about the Impressionists, what would you like it to be?

The seemingly universal appreciation of Impressionism makes it easy to think this was always the case. But in the 1860s and 1870s, there was virtually no audience or collectors for Impressionist artwork, nor could you find it on the walls of museums.

It can be difficult for us to see these paintings as ugly, unfinished, and even offensive. Yet that’s exactly how critics and the public alike responded to the Impressionists’ production, which rejected the Western artistic tradition in just about every way possible. Some of the key aspects of their work that we take for granted, such as mundane middle-class subjects or sketch-like brushwork, were cutting-edge artistic innovations that subverted expectations for finished works deemed suitable for public consumption. Indeed, there was no venue for the exhibition or sale of this artwork in Paris at the time.

Despite how broadly we use the term nowadays, Impressionism did not originate as a style of artwork. Rather, the Impressionists emerged in 1874 as a collective of independent artists who were united by a shared vision of what modern art should be and by the desire to publicly exhibit their work outside of France’s official, conservative art system. By framing these artists in this context, I hope to convey to our visitors a sense of the absolutely radical and challenging aspects of their individual approaches, to make strange or unfamiliar these beloved works in our collection, to deepen our appreciation of what at first glance may read simply as “pretty” pictures. Having established that foundation, visitors can then trace these rebel artists’ extraordinary legacy into the most daring modern movements that continue to resonate in the art produced today.

EXHIBITION SPOTLIGHT

The story of Impressionism is not simply about the artists who adopted or adapted their tenets, but also about those who reacted against them.

What are some of your must-see works in the exhibition?

I wanted to dazzle visitors with the sheer breadth and quality of the artwork in our care. That meant bringing out pieces that are rarely on view, such as light-sensitive works on paper that require long stretches of rest in storage to preserve their condition. Run, don’t walk, to see our astonishing holdings of vibrant pastels by Degas, Redon, and Toulouse-Lautrec; Van Gogh’s large drawing of the cafe terrace on the Place du Forum in Arles; and Matisse’s monumental paper cut-out composition Ivy in Flower, which hasn’t been on view since 2015.

Aside from these stunning works from the vault, the exhibition includes some of my all-time favorite paintings, such as Caillebotte’s The Path in the Garden from 1886. This deceptively simple painting is a tour-de-force in Impressionist bravado. Caillebotte built the composition around the contrasting complementary colors of red and green to increase each color’s overall vibrancy. He applied thick, gestural brushstrokes like spackle to suggest the most ephemeral elements in the painting: sun-dappled light and shadow. And by rendering the landscape with a sharply receding perspective, Caillebotte manages to lend this mundane view a sense of excitement, even mystery.

Among the many treasures from the Reves collection that reward close looking are Seurat’s Grassy Riverbank, a subtle yet evocative scene of dusk on the Seine during the artist’s brief flirtation with Impressionism, and Renoir’s The Seine at Chatou, a joyous landscape that literally comes in and out of focus in a frenzy of feathery strokes in acid colors.

Read the complete Q&A at impressionistrevolution.dma.org.

Images: Installation view, The Impressionist Revolution from Monet to Matisse, Dallas Museum of Art.

Images: The Masseuse, modeled between 1896 and 1911; cast after 1917. Edgar Degas. Bronze. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1965.26.McD; Blonde Bather, about 1881–1882. Pierre-Auguste Renoir. Red chalk on wove tissue paper mounted on board. Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.57.

In Remembrance: Dr. Anne Bromberg

Dr. Anne Bromberg arrived at the DMA in 1962 as a lecturer and was appointed head of the DMA Education Department in 1975. Fourteen years later, she became a curator, focused on ancient civilizations and Asian art, and was appointed The Cecil and Ida Green Curator of Ancient and Asian Art in 2004. In 2020 the DMA named her Curator Emerita in great appreciation for her nearly 60 years of Museum work and her renowned curatorial expertise in the field.

During her tenure as curator, Bromberg spearheaded 40 special exhibitions, including 4 of the 10 highest attended exhibitions in DMA history: Tutankhamun and the Golden Age of the Pharaohs (2008), Splendors of China’s Forbidden City: The Glorious Reign of Emperor Qianlong (2004), Searching for Ancient Egypt: Art, Architecture, and Artifacts from the University of Pennsylvania Museum (1997), and Pompeii A.D. 79 (1979).

Dr. Bromberg’s legacy at the DMA is immense, spanning six decades of impact on education programs and exhibitions, both in the Fair Park and current downtown locations. This includes the creation of the DMA’s beloved Go van Gogh program, which brings the wonders of the DMA to pre-K through 6th grade students in their classrooms. She inspired countless educators, students, and visitors through her lectures and thoughtful exhibitions.

Of profound importance to Bromberg was continuing her legacy at the DMA by including the Museum in her estate plans. Her influence lives on through gifts of art from her personal collection, as well as from naming the Museum as a beneficiary of her estate. Her gift bolsters research and exhibitions in the field of Asian and ancient art and supports the Museum’s mission to be a space of wonder and discovery where art comes alive.

Alan and Anne Bromberg at home

Dr. Bromberg’s legacy at the DMA is immense, spanning six decades of impact on education programs and exhibitions, both in the Fair Park and current downtown locations.

Do you have a special memory of Dr. Anne Bromberg? Share it he re.

Anne Bromberg conducting a 1985 docent training session in the American galleries

EXHIBITION SPOTLIGHT

On view through April 13, 2025

Explore the complexities of visibility in our latest exhibition, When You See Me: Visibility in Contemporary Art/History The installation features nearly 60 works by an intergenerational group of 50 artists who contend with visibility both socially and formally. Their works explore the desire to be seen, and the right to be private. Collectively, they challenge the exclusionary nature of the historical canon, allowing for a much richer and broader array of lived experiences. When You See Me highlights our strides, through recent acquisitions supported by our annual TWO x TWO for AIDS and Art fundraiser, which celebrates its 25th anniversary this year, to diversify the works in our collection in terms of the race, gender, sexual orientation, and nationality of their makers.

We asked each of the four curators of When You See Me to highlight one artist from the exhibition. Read about their selections below.

Dr. Anna Katherine Brodbeck

Hoffman Family Senior Curator of Contemporary Art

America, 2019

Garrett Bradley

Multi-channel video installation; 35mm film transferred to HD video (black and white, 5.1 sound)

Purchased jointly by Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Hammer Museum, Los Angeles, through the Board of Advisors Acquisition Fund; and Tate, courtesy of the North American Acquisition Committee, with additional support from Abigail and Joe Baratta (Tate Americas Foundation), 2024.8.A–B

© Garrett Bradley; Courtesy Lisson Gallery

Pictured on page 23

Bradley’s America is representative of one of the major themes of the exhibition: the need to use creative strategies to tell the stories of those who have been left out of historical and archival narratives because of their marginalized position in society. These strategies are known by the term “critical fabulation,” coined by the influential scholar Saidiya Hartman, and appear throughout the show. To make America, Bradley combed the archives of American film for the earliest presence of Black actors and representations of quotidian Black American life, and then solved for its glaring omissions. Bradley melds 12 newly devised scenes with excerpts from the silent film Lime Kiln Club Field Day (1914), one of the oldest surviving feature films with an all-Black cast. She cites several historical events of the early 1900s: the publication of the spiritual “Deep River” by composer and singer Harry T. Burleigh, the murder of jazz bandleader James Reese Europe, and the founding of baseball’s Negro National League. By combining both archival and newly fabricated footage, Bradley points to what the historical record both reveals and conceals.

Image: Pocket Rocket (detail), 2020. Tschabalala Self. Digital print on canvas, denim, fabric, thread, painted canvas, dyed canvas, acrylic and hand mixed pigments on dyed canvas. Dallas Museum of Art, gift from Collection of Marguerite Steed Hoffman, 2022.91.2.

EXHIBITION SPOTLIGHT

... intergenerational group of 50 artists who contend with visibility both socially and formally.

A.K.B.

V.L.

Collectively, they challenge the exclusionary nature of the historical canon ...

EXHIBITION SPOTLIGHT

Dr. Vivian Li

The Lupe Murchison Curator of Contemporary Art

sleep painting (RETURN, REBORN) - 11.01.21, New York, NY, 2021

Ren Light Pan

Water, 98.6 F (37 C), transgirl, and ink after 7 years on canvas; syringes, photoluminescent pigment

Dallas Museum of Art, Lay Family Acquisition Fund, 2023.97

Pictured on page 23

Through her work and materials, multimedia artist Ren Light Pan engages hybridized cultural and gender identities. She studied East Asian calligraphy as a child and pursued oil painting, photography, and filmmaking in college.

Soon after graduating with her BFA in 2012, Pan began her gender transition, during which she focused on the solitary practice of painting, especially ink painting and its inherent material fluidity and spontaneity. Pan desired to invert the traditional role of the hand and authorship in the practice of painting. By experimenting with the properties of water, ink, and other liquid materials such as alcohol, Pan created what she calls "blind paintings," since she cannot see the results until the work is dried and completed.

Of her oeuvre of experimental blind paintings made during this intense period, the most important and poignant are her series of sleep paintings. Similar to the abstract body prints introduced by Susan Weil and Robert Rauschenberg in the 1950s and David Hammons in the late 1970s, in her sleep painting series Pan creates self-portraits with her body. Covering the front of the canvas with ink, she sprays the back with water and sleeps on it. Her body heat evaporates the water and causes the ink’s carbon particles on the front of the canvas to shift. Before Pan’s gender transition, she created four sleep paintings. sleep painting (RETURN, REBORN) - 11.01.21, New York, NY is her first sleep painting made post-transition. The arduous art-making process and the surface’s ethereal traces of ink evoke both the renewed personal energy and the spiritual and physical transformation of the artist.

Pan’s sleep painting (RETURN, REBORN) speaks to the recent reemergence of figuration, especially among artists of color and LGBTQ artists who celebrate the visibility of certain communities often unrepresented in art and history while simultaneously recognizing their parallel historic and continued surveillance. This awareness of invisibility and hypervisibility has shaped various artists’ practices present in When You See Me

Ade Omotosho

The Nancy and Tim Hanley Assistant Curator of Contemporary Art

Ivory Spirit, 1990

David Hammons

Metal, cotton, netting, silk, and pearls

Dallas Museum of Art, gift of two anonymous donors,

Ms. Judy Pollock, and the General Acquisitions Fund, 1994.50.A–D

© 2024 David Hammons / Artists Rights Society (ARS), New York

Pictured on page 24

David Hammons. To invoke the name is to conjure up a host of figures. The trickster, the shaman, the griot, the seer. It’s a variety fitting for an artist whose multifarious body of work has seen him slip into and out of multifarious disciplines. His works emanate a potent aura, as though they were devised according to the rousing poetics of incantations. His art world reputation precedes him. He tinkers with his gallery shows with impish delight. He eludes the public. He declines interviews. Here is an artist whose works, composed of various media, strive to be mediums.

Ivory Spirit comes from a period in Hammons’s career in which he experimented with a new method: found object assemblage. His turn toward assemblage was inaugurated by a certain fatigue he felt with

his well-known body prints of the 1960s and 70s, a series of works in which he impressed his oil-lathered body on various paper surfaces. The works made him prominent and earned him a living. Still, he longed to fashion a form that upended expectations and defied the exigencies of the art market. “I had to get out of the body prints because they were doing so well,” Hammons told the art historian Kellie Jones. “I was making money hand over fist. But I had run out of ideas, and the pieces were just becoming my ordinary, and getting very boring.” Before long, he alighted on the found object as the key to a new technique. Human hair, fried chicken wings, glass bottles, rocks, cowrie shells, cotton—these are among his disparate and perplexing materials, and he has assembled them with a bracing wit to produce an array of artworks and installations. In Ivory Spirit, Hammons pairs a diaphanous swath of white netting with a rusty hunk of metal. Affixed to the gallery wall, the work almost resembles a human-animal hybrid of sorts, a creation born of the artist’s singular imagination.

I like to imagine that Ivory Spirit, with its enigmatic form, presides over the boundary between representational art and abstraction, a boundary that Hammons (and many of the artists on view alongside him) has complicated and transgressed throughout his career. In When You See Me, the work stands as a kind of model of the possibilities of abstraction and a reminder of the freedom to be found through everyday materials.

Veronica Myers

Curatorial

Assistant for Contemporary Art and Asian Art

Interrogation Lightscape, 2021

Jenna Gribbon

Oil on linen

Dallas Museum of Art, gift of the Green Family Art Foundation, courtesy of Adam Green Art Advisory, 2022.8

© 2024 Jenna Gribbon / Artists Rights Society (ARS), New York

Pictured on page 24

The history of figurative painting has traditionally favored an imbalanced dynamic wherein unnamed female sitters assume the role of the passive muse for the creative endeavors of named male painters. Today, a new generation of queer figurative painters is disrupting and rejecting this historical hierarchy in exchange for what artist Jenna Gribbon refers to as “reciprocal musedom.”

Gribbon’s artistic practice is deeply rooted in a fascination with seeing people being seen, as well as in exploring the nuanced interplay between the pleasures and discomforts inherent to such close proximity. For her, the notion of reciprocal musedom came about through the recurrent inclusion of her partner, musician Mackenzie Scott, as the subject of her paintings. In turn, Scott reciprocates this artistic exchange by often incorporating Gribbon as the focal point in her music compositions.

Interrogation Lightscape is one of Gribbon’s many staged entanglements with Scott, who is illuminated in a beam of light at once harsh and beatific. The composition appears to be from Gribbon’s own point of view through the strategic placement of her lower torso and legs in the foreground, creating visual channels through which the viewer enters the scene. The larger-than-life scale of their nude bodies takes on a topographical quality, while their orchestrated postures, marked by pressed limbs and slouched shoulders, suggest a degree of security and trust necessary for Scott to allow herself to be so unselfconsciously arranged.

Outside the limitations of intimacy, this portrait serves as a poignant exploration of the agentive exchange and mutual recognition intrinsic to queer partnerships. Gribbon’s intention goes beyond the personal archive of individual expression; she seeks to contribute to a broader conversation, stating, “I’ve always made the paintings that I wanted to see, but then it became evident that there were paintings that people needed to see.” Gribbon’s visual labyrinth of musedom challenges historical norms by foregrounding the authenticity, reciprocity, and mutuality that serve as a foundation for queer life. Her work not only captures personal narrative but also speaks to the collective desire for more expansive and inclusive representations in the art historical canon.

Frida Kahlo:

Beyond the Myth

August 18, 2024 to February 23, 2025

This August, the DMA presents Frida Kahlo: Beyond the Myth Composed of over 60 works across media—paintings, drawings, prints, and photographs—the exhibition will explore the life of one of the 20th century’s most well-documented artists, who continues to elude our understanding of her as an individual.

Taking a chronological approach, this exhibition will lift the veil of myth surrounding Kahlo by delving deeper into the defining moments of her life and how she embedded symbolic motifs in her self-portraits and still lifes to cryptically express her emotive reactions to major events. These works will be supplemented with photographs of Kahlo by the friends and fellow artists who knew her best, capturing the vulnerability and sensuality that still compel us today.

Image: Self-Portrait with Loose Hair (detail), 1947. Frida Kahlo. Oil on Masonite. Private Collection. © 2024 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.

Cecily Brown: Themes and Variations

September 29, 2024 to February 9, 2025

Cecily Brown: Themes and Variations is the largest exhibition of work by the influential British American artist to take place in the U.S. to date. It is also the first to fully position her groundbreaking reconfigurations of the cultural politics of painting of and by women, asking the viewer to consider the broader implications of how women are represented and understood within society. The exhibition includes paintings and related drawings organized around themes including the boudoir, the garden, the shipwreck, and the hunt. Through these themes, Brown explores gendered tropes that are prevalent in both art history and popular culture, moving between references as diverse as classic rock music and Old Master paintings.

Image: We didn’t mean to go to sea, 2018. Cecily Brown. Oil on linen. The Rachofsky Collection. © Cecily Brown.

EDUCATION

ADULT PROGRAMMING HIGHLIGHTS

Richard R. Brettell Lecture: The Day Impressionism Began

Saturday, April 20

Performance: 1:00 p.m., Level 1, Hamon Atrium

Talk: 2:00 p.m.

Horchow Auditorium

Join Dr. Kimberly Jones, Curator of Nineteenth-Century French Paintings, National Gallery of Art, as she honors the 150th anniversary of the first Impressionist exhibition and draws connections between the DMA’s exhibition The Impressionist Revolution from Monet to Matisse and the National Gallery of Art's Paris 1874: The Impressionist Moment

Prior to the lecture, join us in the Hamon Atrium for an interactive performance with Bombshell Dance Company.

This lecture is supported by the Richard R. Brettell Lecture Series Endowment Fund.

Boshell Family Lecture Series on Archaeology: Becoming Christian Together: Arts of Ethiopia, Nubia, and Byzantium

Saturday, May 18, 2:00 p.m. Horchow Auditorium

Join Dr. Kristen Windmuller-Luna, Curator of African Art at the Cleveland Art Museum and co-curator of Africa & Byzantium, as she shares her research for and contributions to the traveling exhibition currently on view at the Metropolitan Museum of Art.

This lecture is supported by the Boshell Family Foundation and the DMA’s Boshell Lecture Series Endowment Fund.

Images: La Loge, 1874. Pierre-Auguste Renoir. Oil on canvas. The Courtauld, London (Samuel Courtauld Trust). Photo © The Courtauld; Diptych with Twelve Apostles and Saint Paul (detail), about 1700. Workshop or circle of Wäldä Maryam. Tempera, wood, and textile. The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2023.4.

Art in Thirty Moves to Friday at Noon!

Our drop-in 30-minute gallery talks have moved to lunchtime on selected Fridays.

In a hurry? Art in Thirty.

Pop into the Museum for a 30-minute journey through the DMA’s galleries.

Art in Thirty provides free monthly gallery talks led by DMA staff, local scholars, or artists, highlighting unique aspects of the DMA’s collection and exhibitions.

Museum Murder Mystery

Saturday, May 11, 8:00–9:30 p.m.

The DMA’s popular Museum Murder Mystery is back this spring! Have you ever wanted to play a live game of Clue? Put your detective hat on and help us solve the mystery! Suspects will come to life and answer your questions to help you find out who did it, where, and with what. DMA Members get presale access to purchase discounted tickets.

Installation view: Afro-Atlantic Histories, Dallas Museum of Art. Clown with Red Wig, 1931. Walt Kuhn. Oil on canvas. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.10.McD.

COMMUNITY ENGAGEMENT HIGHLIGHTS EDUCATION

Access Programs

Meaningful Moments Art Workshops

Join us at the Nasher Sculpture Center and the Dallas Museum of Art for Meaningful Moments art workshops. Crafted in partnership with the Alzheimer’s Association Dallas and Northeast Texas Chapter, this program provides a nurturing environment for individuals in the early to mid-stages of Alzheimer’s Disease, dementia, or memory loss, as well as for their care partners.

Dates and times vary by location; please contact us at Contact@MeaningfulDFW.org for more information or to register.

Sensory Days

Sensory Days are a collaboration between local arts and culture organizations to provide sensory-friendly programming. Families are invited to enjoy fun interactives and explore with less noise and stimulation and fewer crowds than on a typical day.

Awareness Months

Awareness Months are educational initiatives that foster cross-departmental collaborations aimed at creating awareness and advocating for increased accessibility accommodations and equitable access to the arts.

APRIL

Autism Acceptance Month

Open Studio Sensory Hour Art Making

1st and 3rd weekends in April

Bachman Recreation Center Community Art Show

April 3–27

Barefoot Day at the DMA

Saturday, April 27

MAY

Mental Health Awareness Month

Open Studio Art Making

1st and 3rd weekends in May

Dallas Art Therapy Workshop

1st Sunday in May

Mindfulness Workshops with Stephanie Tovar

Every Sunday in May

Community Programs

The Museum is partnering with local public libraries to provide programs that are free to all. These hour-long art workshops offer a unique blend of insightful discussions linked to the DMA's collection and special exhibitions, followed by an artmaking session that revolves around the themes explored during the discussion.

Workshops for teens are offered at the DeSoto Public Library on the first Tuesday of the month from 6:30 to 7:30 p.m.: April 2, May 7, and June 4

Dallas Public Library events are open to the entire family at the following locations, with more dates to come:

North Oak Cliff Branch, Thursday, June 6, 6:30–7:30 p.m. and Thursday, July 11, 6:30–7:30 p.m.

Timberglen Branch, Friday, July 19, 2:00–3:00 p.m.

FAMILY AND SCHOOL PROGRAMMING HIGHLIGHTS EDUCATION

Summer Fun

Summer Art Camps at the DMA are the perfect mix of fun, friends, and creative freedom!

Campers spend their time in the galleries and the studio asking, What if?, How come?, and I wonder . . . , and then testing their ideas with paint, paper, pencils, clay, glitter, and glue. Camp is the ideal place to try something new. Even if a child doesn’t think of themselves as “artistic,” a camp about something they do love—like space or colors or animals—offers a pathway into new experiences.

We’ve got something for every creative kid! Register for camps now at dma.org/programs/familyprograms/summer-art-camps.

In the Middle

Did you know that every school year the DMA partners with one DISD middle school to create a oneof-a-kind curriculum for students? The DMA Middle School Partnership launched in 2019 and has served over 300 student-artists since our first classroom visit. For the 2023–2024 school year, we worked with art teacher Estefania Trejo and 38 of her intermediate and advanced 6th, 7th, and 8th grade art students at Jesús Moroles Expressive Arts Vanguard.

During six classroom workshops, students explored topics such as identity and personal narrative, tried new art techniques, and found connections between artworks and their own lives. Trejo notes that this program helps her students “see themselves and their future as artists.” If you’d like to recommend a DISD middle school classroom for next year’s program, please email schoolprograms@dma.org

EDUCATION

Arts & Letters Live 33rd Season Highlights

For the most up-to-date information, visit dma.org/all.

An Evening with David Sedaris

Thursday, April 25, 7:30 p.m.

McFarlin Auditorium, SMU

David Sedaris, master of satire and “champion storyteller” ( Los Angeles Times), returns to Arts & Letters Live for an evening of laughter and reflection. With his sardonic wit and incisive social critiques, Sedaris has become one of America’s preeminent humor writers. At this event, he will read new material, answer questions from the audience, and sign books.

Erik Larson

In conversation with JK Nickell, Texas Monthly

Saturday, May 18, 7:30 p.m.

First United Methodist Church of Dallas

Erik Larson returns with The Demon of Unrest , a suspenseful saga of hubris, heartbreak, and heroism that illuminates the pivotal five months between the election of Abraham Lincoln and the start of the Civil War—a slow-burning crisis that finally tore a deeply divided nation in two.

NICHOLAS KRISTOF

In conversation with Krys Boyd, KERA

Wednesday, May 22, 7:30 p.m. Horchow Auditorium

Chasing Hope , by Pulitzer Prize–winning author Nicholas Kristof, is a candid memoir about his life in journalism. One of the foremost reporters of his generation, Kristof explores vulnerability and courage, humility and purpose, and the trials, tribulations, and hope to be found in a life dedicated to the pursuit of truth.

Tracy Chevalier

Tuesday, June 25, 7:30 p.m. Horchow Auditorium

The Glassmaker, by Tracy Chevalier (Girl with a Pearl Earring ), is a mesmerizing story that follows a family of glassmakers on Murano from the height of Renaissance-era Italy to the present day. When the family patriarch dies in Venice in 1486, the eldest daughter teaches herself to make glass beads in secret, working to support the Rosso family fortunes.

Photo credits: David Sedaris by Ann Fishbein; Erik Larson by Nina Subin; Nicholas Kristof by David Hume Kennerly; Tracy Chevalier by Nina Subin

Abraham Ángel Member Opening ON THE SCENE

Afro-Atlantic Histories

Member Opening Afro-Atlantic Histories ON THE SCENE

Afro-Atlantic Histories

Circle Opening ON THE SCENE

The Impressionist Revolution Member Opening ON THE SCENE

The Impressionist Revolution Circle Opening ON THE SCENE

DMA SPOTLIGHT MEMBERS AND STAFF

It is only through the support of our amazing members and staff that we are able to place art at the center and equity and community at the core of all we do.

Kian Hervey has been a DMA Junior Associate member since 2020 and is currently the JA Membership Chair. She believes there’s something for everyone at the Museum.

“The offerings I love the most are directly tied to my membership perks, including discounts on programming, parking, and more. I’ve found inspiration to become an avid reader through Arts & Letters Live, I’ve had fun dates at DMA Late Nights, and I’ve impressed family and friends with finds from the DMA Store. Working downtown, I’ve also become a fan of the DMA Cafe. Nothing turns a workday around like lunch in the Hamon Atrium or attending Art in Thirty.” Kian hopes that the Museum continues to engage diverse audiences and listen to the next generation, while being rooted in both global and local communities.

DMA MEMBERS

Beverly and George Palmer joined the DMA in 1989 and are currently Advocate members.

“As longtime collectors of artworks by earlier Texas artists, we appreciate that the DMA devotes space to these important artists in the American Art galleries. The painting Cotton Boll, done in 1936 by Otis Dozier, is a small masterpiece, and it is one of our favorite works to visit in the Museum. We also never fail to see Frederic Edwin Church’s The Icebergs .” Their favorite DMA exhibition over the years has been México 1900–1950 in 2017. The Palmers hope that the Museum continues to grow in all ways, not just physically. Providing free access to the public is wonderful, but they know that the DMA must continue to find ways to attract more people from all backgrounds.

Christina and Sal Jafar have been members of the DMA’s Decorative Arts and Design Initiative (DADI) since 2020, and in 2023 Christina agreed to be the inaugural chair of DADI.

“I have many wonderful memories as the DMA has played a role in my life since I moved to Dallas. In college, my friends and I enjoyed visiting both the permanent collection and special exhibitions, along with attending special events. My husband and I have enjoyed visiting since we have been together. I was privileged to assist with the luncheon kicking off the exhibition Cartier and Islamic Art: In Search of Modernity while pregnant with my son, and now we are able to bring our son to family events and make the DMA part of his story as well.” Christina hopes that the DMA can keep building on the excellent platform it has—thanks to many visionary leaders both past and present—and continue to play a pivotal role in the cultural health and soul of DFW.

Denise Gonzales

Senior Manager of Family and Early Learning Programs

How long in your role: 5 years

01. My role at the Museum, at a glance: I manage most of the classes, events, and programs for children 0–12 years old on-site at the Museum. You can usually find me in the galleries singing songs, reading books, and finding other playful ways for children to make meaningful connections with our collection.

02. Currently obsessed with: The Dallas Public Library system! I’m not from Dallas, so when I moved here I got to know the city through the different branches. I still enjoy hopping around to different locations as I’m often checking out children’s books for work.

03. My favorite aspect of my job: So many things! I love learning about artworks and new exhibitions and figuring out how to translate ideas for children to understand. I also love watching children (and their grown-ups) have a-ha moments together in the Museum.

04. When I am not working at the DMA, you will find me doing: Taking Zumba classes, walking my dogs at the park, or watching movies. I have an Alamo Drafthouse season pass so I sometimes watch up to three movies a week there.

Laura Spooner

Experience Project Manager

How long in your role: 1 year and 7 months

01. My role at the Museum, at a glance: As a Project Manager, I help oversee various initiatives for the Experience Team. Within my role, I’m responsible for managing logistics, scheduling timelines, and building out plans that will help the team achieve our designated deadlines for each project.

02. Currently obsessed with: A few things! Season 2 of The Gilded Age , cozy sweatshirts, snacking on sriracha almonds, coffee (always), and what appears to be an early spring for Texas this year.

03. My favorite aspect of my job: It’s a privilege to work with such wonderful people, both within my own team and across other departments. I love learning more about what everyone does within their respective roles at the DMA. We’ve got some talented individuals on our side!

04. When I am not working at the DMA, you will find me doing: I love the outdoors! You can find me rock climbing, fishing, hiking, skiing, napping, drinking coffee, hammocking, and reading. If the weather is nice, chances are good that you’ll find me outside. I especially love having my family and friends join me!

Emily Wiskera

Interpretation Specialist

How long in your role: 10 years

01. My role at the Museum, at a glance: I develop visitor activities and resources for the Museum’s collection and special exhibitions. This includes labels, self-guides, sensory stations, reading areas, and other participatory experiences that encourage visitors to create, reflect, and connect with each other and the work on view.

02. Currently obsessed with: I am currently obsessed with the paintings of Hilma af Klint and the music of Alice Coltrane. I find their work to be so mystical and mesmerizing! I’ve also been drooling over Italian Space Age design in back issues of Domus magazine.

03. My favorite aspect of my job: I’ve loved the DMA since I was a kid. My mom would bring me here to wander the galleries and take art classes. It’s really exciting to be on the other side of the curtain now, trying to create those moments of fun and sparks of wonder for other visitors.

04. When I am not working at the DMA, you will find me doing: Camping in a national park, learning a new tiedye technique, or catching a show by Forgotten Space (my favorite Grateful Dead tribute band).

JD Shipman

Senior Multimedia Technology Specialist

How long in your role: 16 years

01. My role at the Museum, at a glance: I deal with planning, scheduling, and execution of all events that use any audiovisual equipment. This can range from a simple meeting to live music and dance performances with elaborately cued lighting. I work with all departments of the Museum, as well as with rental clients and partner organizations.

02. Currently obsessed with: Chipmunks at 16 Speed. It’s records by the novelty music act The Chipmunks played at the slowest setting on a turntable, resulting in sludgy goth rock versions of songs such as “The Kids in America” and “Walk Like an Egyptian.”

03. My favorite aspect of my job: I get to work with remarkable people from a variety of backgrounds. I’ve done events with MacArthur Fellows, Pulitzer Prize winners, and members of the original cast of Star Trek: TOS

04. When I am not working at the DMA, you will find me doing: I watch a lot of terrible horror movies. I make art when I have the time and funds. I love live music from a variety of genres. I am often at Twilite Lounge drinking Malört.

DMA STAFF

Anthony (Tony) Hill

Gallery Attendant

How long in your role: 5 years

01. My role at the Museum, at a glance: My role at the Museum is to protect and oversee the art in the galleries and throughout the Museum, while also performing other duties that help maintain the upkeep and installation and deinstallation of the artwork by acting as an escort or posting to direct. I also perform frontline duties at the Museum’s entrances, which consists of greeting guests, answering questions, and overseeing the safety of our visitors and the art in the Museum.

02. Currently obsessed with: European art on Level 2, which is kinda a 2D take on things . . . the art just reaches out at you! Also anything by Zaha Hadid is sure to send me into an uproar, like her Bench on Level 2.

03. My favorite aspect of my job: I get to see the art as it’s being installed firsthand, and I’m able to give friends and visitors a head’s up on the exciting things that are coming. What also lights up my eyes is when out-of-town visitors ask for advice on things to do while they’re in our wonderful city and ask where they can get something to eat. I direct them to our one-stop-shop museum and our cafe. Also when we are about to close and guests come in and want to see something really quick, I get to send them to my favorite artworks.

04. When I am not working at the DMA, you will find me doing: You’ll find me reading and collecting rare art items for my own collections. I’m glued to the internet looking for what’s new and hot in fashion, fitness, and art. You might also find me at your nearest Barnes & Noble with Starbucks coffee and magazines all over the place! Yikes!

Brenda Trevizo

Membership Manager

How long in your role: 5.5 years

01. My role at the Museum, at a glance: As the Membership Manager, I oversee the Membership program here at the DMA. This includes anything from strategic planning to events planning and everything in between!

02. Currently obsessed with: Film photography! I recently created a darkroom at home and can finally start developing all the film I’ve accumulated over the years. The process is equal parts magical and therapeutic.

03. My favorite aspect of my job: My favorite aspect of the job is working with my colleagues, who share the same passion in creating a space of learning and discovery here at the DMA.

04. When I am not working at the DMA, you will find me doing: I love cooking, so you might find me strolling through the aisles at my favorite grocery store. Other than that, curled up in a blanket watching a good movie or reading a book is my ideal way to unwind in the afternoons.

Director's Office

Dr. Agustín Arteaga, The Eugene McDermott Director

Tamara Wootton Forsyth, The Marcus-Rose Family Deputy Director

Kathy Everitt, Manager of Board Relations

Megan Jarchow, Strategic Management Fellow

Jennifer Ruddock-Cordileone, Director of Strategic Initiatives

Collections, Exhibitions

& Interpretation

Sabrina Lovett, Director of Collections, Exhibitions, and Interpretation

Kate Aoki, Head of Exhibition Design

Erick Baker, Preparator, Mount Maker

Frances Baker-Tucker, McDermott Intern for Interpretation

Amanda Dietz Brooks, Head of Exhibitions and Publications

Sean Cairns, Preparator, Collections & Exhibitions

Tricia Earl, Registrar for Loans

Carol Griffin, Senior Registrar for Acquisitions and Deaccessions

Julie Herrick, Associate Registrar for Loans and Exhibitions

David Hill, Preparator

Rachael Huszar, Exhibition Designer

Lance Lander, Senior Manager of Gallery Technology

Elia Maturino, Gallery Maintenance Assistant

Mary Nicolett, Senior Preparator, IPM Coordinator

Justin Penov, Head Preparator

Brian Peterman, Lighting Preparator

Katie Province, Registrar for Collections and Exhibitions

Jean Rowe, Collections Assistant

Claudia Sanchez, Associate Registrar for Exhibitions

Emily Schiller, Senior Manager of Interpretation

Peter Skow, Spanish Language Editor and Translator

Russell Sublette, Senior Preparator, Head Mount Maker

Veronica Treviño, Exhibitions and Publications Coordinator

Doug Velek, Senior Preparator, Framer

Queta Moore Watson, Senior Editor

Emily Wiskera, Interpretation Specialist

Eric Zeidler, Publications Manager

Curatorial

Curatorial and Research

Dr. Nicole Myers, Chief Curatorial and Research Officer and The Barbara Thomas Lemmon Senior Curator of European Art

Shelby Bennett, Dedo and Barron Kidd McDermott Intern Fellow for European Art

Dr. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art

Alexander Burgamy, McDermott Intern for Asian Art

Ellie Canning, Curatorial Assistant for Art of the Americas

Sue Canterbury, The Pauline Gill Sullivan Curator of American Art and the Interim Allen and Kelli Questrom Curator of Works on Paper

Dr. Jacqueline Chao, The Cecil and Ida Green Curator of Asian Art

Dr. Anabelle Gambert-Jouan, The Lillian and James H. Clark Assistant Curator of European Art

Julia Garrett, McDermott Intern for Contemporary Art

DMA STAFF

Olivia Harris, McDermott Intern for Design and Decorative Art

Sydney Kasok, Research Assistant for Contemporary Jewelry

Dr. Vivian Li, The Lupe Murchison Curator of Contemporary Art

Veronica Myers, Curatorial Assistant for Contemporary Art and Asian Art

Ade Omotosho, The Nancy and Tim Hanley Assistant Curator of Contemporary Art

Dr. Michelle Rich, The Ellen and Harry S. Parker III Associate Curator of Indigenous American Art

Meg Roppolo, Curatorial Assistant for European and Islamic Art

Crystal Rosenthal, EODIAH Provenance Researcher

Sarah Schleuning, The Margot B. Perot Senior Curator of Decorative Arts and Design

Conservation

Curatorial and Research

Fran Baas, Objects Conservator

Laura Hartman, Paintings Conservator

Library and Archives

Curatorial and Research

Jenny Stone, Mildred R. and Frederick M. Mayer Director of the Library and Archives

Kathleen Alleman, Associate Librarian

Hillary Bober, Archivist

Zoe Heinsohn, Assistant Archivist

Cathy Zisk, Manager of Technical Services

Development

Cynthia Calabrese, Chief Development Officer

Anna Arons, Manager of Corporate Giving

Lesley Ayala, Membership Associate

Yared Dibab, Development Information Services Assistant Manager

Yemi Dubale, Manager of Development Information Services

Caroline Irvin, Major Gifts Officer

Jessica Kyle, Assistant Manager of DMA Circle

Elizabeth McGee, Manager of Special Events

Susan McIntyre, Senior Director of Major Gifts

Samuel Montgomery, Manager of Grants

Angela Paetzel, Manager of the DMA Circle

Brenda Trevizo, Membership Manager

Ingrid Van Haastrecht, Senior Director of Development Operations & Institutional Giving

Sommer Washington, Gift Processing Assistant

Education

Stacey Lizotte, The Allen and Kelli Questrom Center for Creative Connections Chief Learning Officer

JC Bigornia, Director of Community Engagement

Melissa Brito-Alvarez, Manager of Access Programs and Resources

Juliet Castro, Family and School Programs Coordinator

Cristina Echezarreta, Manager of Adult Programs

Rebekah Flinders, Manager of School Outreach Programs

Alondra Gamino, Center for Creative Connections Coordinator

Denise Gonzalez, Senior Manager of Family and Early Learning Programs

Leah Hanson, Director of Family, Youth, and School Programs

Carolyn Hartley, Administrative Coordinator, Arts & Letters Live

Emily Hogrefe-Ribeiro, Manager of School Programs

Jennifer Krogsdale, Program Manager for Arts & Letters Live

Bora Leiby, Education Coordinator

Shannon Linker, DMA League Director of Adult Programs

Siena Mazza, McDermott Intern for Community and Access Programs

Rachel Sigman, McDermott Intern for School and Family Programs

Odette Vega, Manager of Community Programs

Michelle Witcher, Arts & Letters Live Program Director

Experience

Brad Pritchett, Chief Experience Officer

Ty Bolton, Director of Guest Experience

Tammy Bradley, Receptionist

Alva Curry, Guest Services Associate

Cathy Davis-Famous, Guest Services Associate

Taylor DeCarlo, Graphic Designer

Lizz DeLera, Creative Director

Paulos Feerow, Guest Services Associate

Martha Garcia, Guest Services Associate

Marta Gonzalez, Assistant Store Manager

Elvis Guaman, Guest Services Associate

Janet Hitt, Director of Marketing

Vynsie Law, Senior Art Director

Brandon Loredo, Data Analyst

Genet Mamuye, Guest Services Associate

Elisette Marin, Sales Associate

Ellee McMeans, Public Relations Manager

Aschelle Morgan, Director of External Affairs

Marissa Negrete, Museum Store Supervisor

Cruz Ontiveros, Content Manager

Sebastian Robles, Guest Services Associate

Raquel Sandoval, Guest Services Supervisor

Alison Silliman, Director of Retail

Fikirte Sima, Guest Services Associate

Bryony Smith, Sales Associate

Laura Spooner, Experience Project Manager

Samantha Velarde, Assistant Manager of Guest Services

Facility Operations & Security

Ken Bennett, Chief Security and Operations Officer

Andre Anthony, Gallery Attendant

Rachael Armstead, Parking Attendant

Arianna Banda, Gallery Attendant

Doris Barkins, Gallery Attendant

Ronald Baxter, Gallery Attendant

Kendra Benson, Gallery Attendant

Aweke Beza, Gallery Attendant

Anne Bowen, Gallery Attendant Supervisor

Claudia Brewer, Security Control Room Officer

Ron Browning, Gallery Attendant

Latasha Burns, Operations Supervisor

Lizeth Castillo, Gallery Attendant

Sylvia Chaney, Control Room Supervisor

Claudia Choy, Gallery Attendant Supervisor

DMA STAFF

John Claire, Building and Facilities Manager

Vondra Coleman, Gallery Attendant

Archie Criss, Gallery Attendant

Hanna Deme, Gallery Attendant

Miguelangel Derma, Security Control Room Officer

Darrell Dubose, Painter

Tara Eaden, Operations Manager

Stephanie Elliott, Gallery Attendant

Greg Evans, Gallery Attendant

Queen Feagins, Security Control Room Officer

Jazmine Flores, Gallery Attendant

Nellie Frayre, Operations Maintainer

Veronica Gardner, Gallery Attendant

David Geary, Dual Rate Gallery Attendant Supervisor

Robin Glanville, Gallery Attendant

Luis Gomez, Control Room Relief Supervisor

Greg Gourley, Gallery Attendant

Beza Haile, Gallery Attendant

Patricia Hamra, Gallery Attendant

Brandon Harden, Gallery Attendant

Detrick Harris, Operations Maintainer

Josh Harstrom, Carpentry Manager

Loui Hernandez, Gallery Attendant

Anthony Hill, Gallery Attendant

Crystal Houston, Gallery Attendant

Jasmine Howard, Gallery Attendant Supervisor

Ndukwe Ijomah, Gallery Attendant

Shalamar Jackson, Security Manager

Caleb Kelley, Security Control Room Officer

Alex Kenno, Gallery Attendant

Jake Ledbetter, Gallery Attendant

Merertu Lelissa, Gallery Attendant

Val Lopez, Gallery Attendant

Nancy Lujan, Gallery Attendant

Marc Lyman, Parking Attendant

Lacey Mason, Gallery Attendant

Fernando Matehuala, Gallery Attendant

Joyce McCloud, Gallery Attendant

Jennifer McCoy, Gallery Attendant Manager

Tina McQueen, Security Control Room Officer

Ulices Mendoza, Gallery Attendant

Crystal Merlo, Gallery Attendant

Alice Miller, Gallery Attendant

David Miller, Director of Security

Tru Miller, Gallery Attendant

Alfreda Mitchell, Supply, Shipping, and Receiving

Renata Mitchell, Gallery Attendant

Matthew Moore, Security Control Room Officer

Benjamin Morales, Gallery Attendant

Maria Moreno, Operations Maintainer

Sandi Newmon, Gallery Attendant

Stephanie Perez, Gallery Attendant

Freddy Perry, Jr., Operations Maintainer

Luke Peterson, Assistant Manager, Building and Parking

Efren Ramirez, Operations Maintainer

Gloria Ramirez, Operations Supervisor

Kelly Randall, Gallery Attendant

Ron Ray, Gallery Attendant

Luz Maria Rico Cortes, Dual Rate Operations Supervisor

Barry Roberts, Jr., Gallery Attendant

Jeremiah Roblez, Control Room Supervisor

Jaime Rojas, Security Control Room Officer

Breylon Ruffin, Gallery Attendant

Narvas Scates, Security Control Room Officer

Mulualem Selassie, Gallery Attendant

Tyson Shepherd, Gallery Attendant

Clint Skinner, Gallery Attendant

Jaylen Thomas, Gallery Attendant

Janelle Tohill, Gallery Attendant

Feliza Vidaurri, Gallery Attendant

Genet Wako, Gallery Attendant

Cynthia Weaver, Operations Maintainer

Fred Wikelski, Gallery Attendant

Shiree Williams, Gallery Attendant

Lena Wright, Operations Maintainer

Tomas Ybarra, Security Control Room Officer

Edward Zambrano, Parking Attendant

Finance & Accounting

Brenda Berry, Chief Financial Officer

Karen Black, Controller

Linda Kelley, Payroll Manager

Jeff Pham, Senior Accountant

Jacklyn Rechy, Staff Accountant

Angela Rogers, Manager of Accounts Payable

Human Resources

Nia Amadife, Director of Human Resources

Chris McKenzie, HR Specialist

Victoria Perez, HR Coordinator

Pallabi Saikia, HR Specialist

Technology & Digital Media

Amir Tabei, Chief Information Officer

Jeff Brownlee, Senior Application Developer

Giselle Castro-Brightenburg, Digital Media Manager

Tracy Duren , Systems Engineer

Brad Flowers, Head Photographer

Brian MacElhose, Collections Information Manager

Paul Molinari, Intellectual Property Manager

Dan Reaka, Information Systems Manager

Sergio Romo, Helpdesk Support Specialist

JD Shipman, Senior Multimedia Technology Specialist

Darran Wilson, Multimedia Technology Specialist

SPONSOR SUPPORT

Thank you to our sponsors for supporting our exhibitions and programming.

Abraham Ángel: Between Wonder and Seduction is organized by the Dallas Museum of Art in association with the Museo de Arte Moderno. INBAL/Secretaría de Cultura, Mexico City. Free General Admission to the Dallas Museum of Art is made possible with generous support from the Robert Gerard Pollock Foundation. The Dallas Museum of Art is supported, i n part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

ORGANIZED BY

EXHIBITION SUPPORT MEDIA SUPPORT

LOCAL SUPPORT

Afro-Atlantic Histories is co-organized by the Museum of Fine Arts, Houston, and the Museu de Arte de São Paulo in collaboration with the National Gallery of Art, Washington, D.C. This exhibition is presented by Bank of America. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

PRESENTED BY

MAJOR SUPPORT

ADDITIONAL SUPPORT

Arlene J. Ford, PhD Christopher P. Reynolds

COMMUNITY DAY SUPPORT

Arthur Primas

Arts & Letters Live is supported by Annual Season Supporters, the Kay Cattarulla Endowment for the Literary and Performing Arts, and the McGee Foundation Arts & Letters Live Endowment Fund at the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

MAJOR SUPPORT

Anonymous Foundation

HOTEL PARTNER

PROMOTIONAL SUPPORT

LOCAL SUPPORT

Backs in Fashion: Mangbetu Women’s Egbe is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Community and Access Programs are provided by the Fichtenbaum Charitable Trust, Communities Foundation of Texas, and the Texas Commission on the Arts. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Cecily Brown: Themes and Variations is organized by the Dallas Museum of Art and the Barnes Foundation. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LEADERSHIP SUPPORT

The Dedman Foundation

ADDITIONAL SUPPORT

LOCAL SUPPORT

Frida Kahlo: Beyond the Myth is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LEADERSHIP SUPPORT

The Dedman Foundation

LOCAL SUPPORT

Family Programs are organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

SPONSOR SUPPORT

From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Generous support for DMA Free First Sundays: Access for All provided by Art Bridges Foundation's Access for All program. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

PROGRAM SUPPORT

LOCAL SUPPORT

Go van Gogh transportation is provided by John Eagle Dealerships. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

He Said/She Said: Contemporary Women Artists Interject is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

ADDITIONAL SUPPORT

The Impressionist Revolution from Monet to Matisse is organized by the Dallas Museum of Art. This exhibition is co-presented by Texas Instruments and PNC Bank. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

CO-PRESENTED BY

MAJOR SUPPORT CONTRIBUTING SUPPORT

Freeman Family Exhibition Fund

LOCAL SUPPORT

Looking Forward: A New DMA is presented by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

Love Island: Japanese Weddings of the Edo Period is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Late Night: Pride Block Party support provided by the Texas Commission on the Arts. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

PROGRAM SUPPORT LOCAL SUPPORT

School Programs are provided by Ameriprise Financial, Ecolab Foundation, Harold Simmons Foundation, and the Texas Commission on the Arts. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Summer Art Camp is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Tiffany Chung: Rise Into The Atmosphere is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

EXHIBITION SUPPORT

LOCAL SUPPORT

When You See Me: Visibility in Contemporary Art/History is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

EXHIBITION SUPPORT

LOCAL SUPPORT