Artifacts | Fall 2017 by Dallas Museum of Art

Member Magazine fall 2017

director’s note As we enter a new season, we look back on the successes of

The upcoming season at the DMA promises to be especially

the summer and the past fiscal year, when we welcomed over

exciting for DMA Members. Yayoi Kusama’s All the Eternal Love I

800,000 visitors, the largest number in Museum history since

Have for the Pumpkins is the first mirror pumpkin room created by

the year we presented Tutankhamun and the Golden Age of the

Kusama since 1991 and the only Infinity Mirror Room of its kind

Pharaohs. Three very different and highly notable exhibitions

in a North American collection. DMA Members will have the

were among those on view in 2017 that celebrated our desire

first chance to be part of this immersive art experience and will

to create exciting experiences for our visitors, with the best

enjoy not only special DMA Member Preview Days but priority

art for all to see. Representing diverse cultures, mediums, and

reservations during the run of the installation.

time periods, each exhibition connected with people in North Texas, from all 50 states, and beyond.

Opening in October, Truth: 24 frames per second is the first major exhibition in the Museum’s history dedicated to time-based

México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and

media and is inspired by the DMA’s film and video holdings. As

the Avant-Garde hosted over 125,000 visitors, making it one of the

always, access to these exhibitions will be free for DMA Mem-

DMA's two highest attended paid special exhibitions in the past

bers, including special DMA Member Preview Days.

decade. But perhaps more impressively, it brought through our doors a new generation of museum-goers. Iris van Herpen: Transforming Fashion was both beautiful and beguiling. It expanded visitors’ preconceptions of what belongs in an art museum, and wowed all who stepped into the mesmerizing space. Likewise, Visions of America: Three Centuries of Prints from the National Gallery of

Your generous annual support as a DMA Member makes the work of the Museum possible. In exchange, DMA Members enjoy VIP treatment, special access, and the best the Museum has to offer. Thank you for your generosity, and we hope to see you at the Museum soon—and often!

Art provided a new perspective of the nation through the eyes of both American and non-American artists. These exhibitions intrigued and delighted guests of all ages.

Agustín Arteaga The Eugene McDermott Director

member news

THIS ISSUE

PUMPKIN PATCH

SILVER ANNIVERSARY

Discover famed artist

The DMA celebrates a

Yayoi Kusama’s creative

quarter century of

past and her photogenic

extraordinary objects

installations.

and fundraising.

VIRAL VIDEOS Curators delve into the

FLOWERING RESTORATION

framework of time-based

Explore the conservation

media artists in Truth: 24

efforts behind seven

frames per second.

magnificent murals.

Artifacts is published by the Dallas Museum of Art especially for its members and is a benefit of membership. It is a production of the Museum’s Collections and Exhibitions, Communications and Public Affairs, Curatorial, Education, Marketing, and Membership and Development departments.

jill bernstein, Editor in Chief kimberly daniell, Senior Editor queta moore watson, Managing Editor rebecca winti, Art Director gregory castillo,

Photographer

The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.

for information call 214-922-1200 or visit DMA.org.

cover and above left :

Yayoi Kusama, All The Eternal Love I Have for the Pumpkins (detail), 2016, wood, mirror, plastic, acrylic, LED. courtesy YAYOI KUSAMA Inc., Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London (photography Thierry Bal), © Yayoi Kusama

this page (details):

Covered cup, Paul de Lamerie (maker), London, England, 1742, silver, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.186.1.a–b; Phil Collins, the world won’t listen, 2005, synchronized three-channel video installation, color, sound, 57 min., Dallas Museum of Art, Gayle and Paul Stoffel Fund for Contemporary Art Acquisition and gift of Marguerite Steed Hoffman, 2008.12.3.a–m, © Phil Collins

director’s note

THIS SEASON YAYOI KUSAMA: All the Eternal Love I Have for the Pumpkins October 1, 2017–February 25, 2018

TRUTH: 24 frames per second October 22, 2017–January 28, 2018

MULTIPLE SELVES: Portraits from Rembrandt to Rivera Through November 5, 2017

SHAKEN, STIRRED, STYLED: The Art of the Cocktail Through November 12, 2017

WAXED: Batik from Java Through December 3, 2017

ASIAN TEXTILES: Art and Trade Along the Silk Road December 16, 2017–December 9, 2018

EDWARD STEICHEN: In Exaltation of Flowers Through May 13, 2018

MARK YOUR CALENDAR

As we enter a new season, we look back on the successes of

the summer and the past fiscal year, when we welcomed over

HOPI 800,000 visitors, the largest number in Museum history since

VISIONS: Journey of the Human Spirit

the year we presented Tutankhamun and the Golden Age of the January 7–December 2, 2018 Pharaohs. Three very different and highly notable exhibitions

GÜNTHER FÖRG: A Fragile Beauty

were among those on view in 2017 that celebrated our desire

January 21–April 22, 2018

to create exciting experiences for our visitors, with the best

art for all to see. Representing diverse cultures, mediums, and

LAURA OWENS

time periods, each exhibition connected with people in North

March 25–July 29, 2018

Texas, from all 50 states, and beyond.

THE POWER OF GOLD: Asante Royal Regalia from Ghana

México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and

April 15–August 12, 2018

the Avant-Garde hosted over 125,000 visitors, making it one of the DMA's two highest attended paid special exhibitions in the past decade. But perhaps more impressively, it brought through our doors a new generation of museum-goers. Iris van Herpen: Transforming Fashion was both beautiful and beguiling. It expanded visitors’ preconceptions of what belongs in an art museum, and wowed all who stepped into the mesmerizing space. Likewise, Visions of America: Three Centuries of Prints from the National Gallery of Art provided a new perspective of the nation through the eyes of both American and non-American artists. These exhibitions intrigued and delighted guests of all ages.

The DMA has two wonderful membership programs for young adults. From visiting the DMA for educational programs, to networking with other professionals, to events for young families, and beyond, you’ll find myriad ways to be part of the action!

The DMA Junior Associates is one of the largest and bestestablished young professional membership groups in the city. Members, ages 21–40, convene for a robust series of regular educational, social, and networking events, including happy hours, educational programs, hands-on art-making activities, and more. Chaired in 2017–2018 by Jourdan and Harry McClish, the DMA Junior Associates is a great way to get involved with Dallas’s best art crowd and experience an insider track to our city’s vibrant art scene. Interested or know someone who might be? Contact us at JA@DMA.org or visit DMA.org/JA for more information.

The DMA Forum is designed for emerging collectors and young families, featuring unique educational and social events. The calendar encourages families and friends to get involved together, with family-oriented events at the Museum as well as visits to art-centric destinations. In 2017–2018, the DMA Forum is chaired by Lindsay and Ray Ballotta. It’s the perfect group for a young professional who is ready to take the next step with the DMA. Interested or know someone who might be? Contact us at forum@DMA.org or visit DMA.org/forum for more information.

DMA MEMBERS More benefits. More access. More fun!

member news

Memberships for Young Professionals at the DMA

exhibitions

PART OF AN

INFINITE WORLD BY E M I LY S C H I L L E R

YAYOI KUSAMA All the Eternal Love I Have for the Pumpkins october 1, 2017 to february 25, 2018 The Dallas Museum of Art is now fortunate to have three

subjects through the repetition of organic forms and immersion

works that illustrate the trajectory of Yayoi Kusama’s career

in environmental installations.

from the 1960s to the present. Accumulation (1962–64), a chair covered with fabric protuberances, entered the DMA’s collection in 2008, and in 2015 the DMA acquired a work made in 1976 that is composed of a pair of shoes painted silver and covered with soft-sculpture phallic forms. All the Eternal Love I Have for the Pumpkins (2016) is a new addition to the DMA, and members can see it before it goes on view to the public October 1. While Kusama’s fame has increased exponentially over the past five years (she is currently featured in two retrospective exhibitions), her early career took place in the same New York environs as well-known artists from the 1960s: Andy Warhol, Claes Oldenburg, Eva Hesse, Joseph Cornell, and Donald Judd. Her 21st-century stardom is at least partially due to her works’ compatibility with social media and the photogenic quality of her environmental creations.

Accumulation is one of many objects and spaces Kusama sheathed in stuffed fabric tubes. In addition to chairs, sofas, and stools, she enveloped ladders, bookcases, shoes, cake pans, clothing, and luggage in soft growths that seem to extrude from surfaces like tube worms near deep sea vents. The phallic nature of these forms was intentional. Kusama produced these as a way to disempower a symbol she found disturbing. From her early career, Kusama presented her work as immersive, environmental, and camera-ready. Over five decades later, All the Eternal Love perpetuates these traits. The 2016 piece is one of her Infinity Rooms, mirrored spaces she first created in 1965. The DMA’s room represents the return of pumpkin imagery, which Kusama had not included in these mirrored spaces since 1991. She associates pumpkins with eternal forces and organic continuums. The gourd also resonates with the artist’s child-

Following a childhood trauma and the subsequent onset of

hood spent helping with the family agricultural business. Mir-

mental illness, 10-year-old Kusama applied dots to her drawings

rored panels create the illusion of an endless field of illuminated

as a therapeutic way to present herself as part of an infinite

pumpkins surrounding the viewer’s infinite reflections.

world—a process she calls self-obliteration. Accumulation and All the Eternal Love illustrate Kusama’s consistent fascination with psychological and philosophical themes including infinity, the sublime, and self-exploration. Both works tackle these weighty

For those who want to contemplate the symbolic, photogenic, and sublime experience of an artist's invented cosmos, Kusama's All the Eternal Love I Have for the Pumpkins offers a temporary escape from reality. — Dr. Emily Schiller is a Digital Collections Content Coordinator at the DMA.

exhibitions

MEMBER-ONLY EVENTS DMA CIRCLE VIEWING DAY Thursday, September 14, noon–9:00 p.m. Open to Contributor level and above DMA MEMBER PREVIEW DAYS Friday, September 15 through Saturday, September 30 During Museum hours DMA CIRCLE OPENING RECEPTION Monday, September 18, 6:00–8:00 p.m. Open to Contributor level and above DMA MEMBER EXHIBITION TALK Saturday, December 2 Open to Ambassador level and above

TICKET INFORMATION DMA Members are free, but must have a timed ticket with a specific assigned time slot for All the Eternal Love I Have for the Pumpkins. For information on how to obtain a free timed ticket,

Yayoi Kusama: All the Eternal Love I Have for the Pumpkins is made possible by the TWO x TWO

visit DMA.org/KUSAMA.

for AIDS and Art Fund and The Rachofsky Collection. images: Yayoi Kusama, All the Eternal Love I Have for the Pumpkins (detail), 2016, wood, mirror, plastic, acrylic, LED, Courtesy Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London © Yayoi Kusama

exhibitions

TRUTH in a Few Frames TRUTH: 24 frames per second october 22, 2017 to january 28, 2018 On October 22, the DMA will debut the exhibition Truth: 24 frames per second, the first major exhibition in the Museum’s history dedicated to time-based media. The exhibition brings together 24 pioneers of film and video and over six decades of work focused on pressing contemporary themes, such as race relations, political unrest, sexual identity, and the media, to explore the nature of truth and reality in contemporary life. Following is an adapted excerpt from the catalogue that will accompany the exhibition: The authenticity and “truthfulness” of lens-based media have long been open to contestation and debate. In 1878 Eadweard Muybridge successfully captured the stride of a galloping horse. The results were widely publicized and he spent the ensuing years improving his technique, photographing men and women performing everyday chores. Muybridge’s intention was to faithfully capture human locomotion. However, critics were quick to point out that his images—though “real”—were somehow untrustworthy. The photographs documented something the human eye was unable to see. The question then arose: which is truer, the image depicting things as they are, or the way we believe them to happen? The artists selected for this exhibition put this hypothesis to work. Their understanding, and use of, our innate distrust of imagery awakens a certain questioning in us of what is real and what is unreal, what is true and what is false. Truth begins almost a century after Muybridge and in the same way it does not simply comment on actualities in our society but rather it presents a complex view of the real, with no one dominant view, a reality formed by a vibrant and brilliant multitude of perspectives. — Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art

Truth: 24 frames per second is accompanied by a 208-page, full-color catalogue designed by Miko McGinty and co-published by the Dallas Museum of Art and Yale University Press. The catalogue includes original essays by Gavin Delahunty and Anna Katherine Brodbeck with additional texts by artists and art historians.

MEMBER-ONLY EVENTS DMA CIRCLE OPENING RECEPTION

RELATED EVENTS For details, registration, and tickets, visit DMA.org.

Wednesday, October 18, 6:00–8:00 p.m.

EXHIBITION TALK: TRUTH: 24 frames per second

Open to Contributor level and above

Thursday, October 19, 7:00 p.m.

DMA MEMBER PREVIEW DAYS

Artists Ben Rivers, Dara Birnbaum, and Anne Tallentire in conversation with Gavin Delahunty

Thursday, October 19, 6:00–9:00 p.m. Friday, October 20, 11:00 a.m.–midnight Saturday, October 21, 11:00 a.m.–5:00 p.m. DMA MEMBER OPENING RECEPTION Sunday, October 22, 6:00–8:00 p.m.

GALLERY TALK Wednesday, November 8, 12:15 p.m. Amber Bemak, Assistant Professor of Film and Media Arts, SMU

exhibitions Media Burn was a televised publicity stunt undertaken by the collective

ant farm. Taped on July 4, 1975, a JFK impersonator officiates

bruce conner’s REPORT explores how the public—particularly the media—responded to the assassination of John F. Kennedy.

the event, which concludes when the artists crash a “Phantom

Conner presents a chaotic montage of found footage and physical-

Dream Car,” outfitted with a closed-circuit camera, into a stack of

ly manipulates the film itself, a combination that fragments the

television sets.

narrative and calls into question how the event was documented, discussed, and ultimately mythologized in American history.

phil collins’ the world won’t listen is a series of three videos shot

james coleman’s Untitled features a looping video clip of a

in Colombia, Turkey, and Indonesia featuring karaoke performances

carousel ride. Accompanied by a loud, pulsing soundtrack, the

of the album of the same name by The Smiths. While karaoke can

work emphasizes mechanical repetition and pattern rather than

be dismissed as frivolous, it is ultimately an empathic form of

the joyful associations of the ride itself.

impersonation that allows participants to assume the personae of others, uniting diverse peoples under transnational subcultures.

— Anna Katherine Brodbeck is The Nancy and Tim Hanley Assistant Curator of Contemporary Art and Kelly Filreis is the McDermott Graduate Intern for Contemporary Art and Temporary Project Coordinator at the DMA.

Truth: 24 frames per second is organized by the Dallas Museum of Art. Generous support provided by Marguerite Steed Hoffman and Thomas W. Lentz; TWO x TWO for AIDS and Art Fund; Marian Goodman Gallery, New York; and Culture Ireland. Air transportation provided by American Airlines. exhibition support

airline partner

rosemarie trockel’s

z.B. Balthasar, 6 Jahre (For Example,

images (details): Ant Farm, Media Burn, 1975, video, color, sound, 23:02 min., Performance, July 4, 1975, Cow Palace, San Francisco, Dallas Museum of Art, Laura and Walter Elcock Contemporary Art Fund, Courtesy of Berkeley Art Museum

Balthasar, Age 6) shows a young boy in a suit carrying a suit-

case and walking down a road with a young girl. They encounter

of the Conner Family Trust and Kohn Gallery, Los Angeles, © The Conner Family Trust; Phil Collins, the world won’t listen,

seemingly inconsequential events along the way, which together

Fund for Contemporary Art Acquisition and gift of Marguerite Steed Hoffman, 2008.12.3.a–m, © Phil Collins; James

construct a dreamlike story about childhood and memory.

Gallery, New York, © James Coleman; Rosemarie Trockel, Zum Beispiel Balthasar, 6 Jahre (For Example, Balthasar, Age 6),

F. Turner; Bruce Conner, REPORT, 1963–67, 16mm film (digitally restored, 2017), black and white, sound, 13 min., courtesy 2015, synchronized three-channel video installation, color, sound, 57 min., Dallas Museum of Art, Gayle and Paul Stoffel Coleman, Untitled, 2011–15, LED video installation with audio, color, sound, courtesy of the artist and Marian Goodman 1996, video, color, sound, 10 min., Dallas Museum of Art, anonymous gift, © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

IN FOCUS

DMA MEMBERS PERK S & EVENTS

dma member opening celebration Iris van Herpen: Transforming Fashion and Visions of America: Three Centuries of Prints from the National Gallery of Art

dma circle directorâ&#x20AC;&#x2122;s dinner

8. 1â&#x20AC;&#x201C;7: dma members celebrate the opening of Iris van Herpen and Visions of America

8: ann hobson, howard and fanchon hallam 9: julie hawes and muffin lemak

10. 10: emily maduro, debra and kenneth hamlett

dma circle opening reception Iris van Herpen: Transforming Fashion

11.

12.

13.

keir collection of islamic art preview

15.

14.

16.

dma members enjoy the VIP treatment at Late Night in the members-only bar.

17.

18.

dma members get presale access and discounted tickets for popular programs like the sold-out Museum Murder Mystery.

19. 11: alan and david simmons-medina, betsy orton and sharon fancher 12: carlos gonzalez-jaime, salvador breed, iris van herpen,

and agustĂn arteaga 13: tom newbury, lizzie routman, tom sanden 14: helen houp and carole hoffman

20. 15: walter elcock 16: glen de unger and richard de unger 17â&#x20AC;&#x201C;18: dma members at the late night members-only bar 19â&#x20AC;&#x201C;20: dma members, including gregory pynes, enjoyed

the museum murder mystery

exhibitions

SHARED VISION BY KIMBERLY L. JONES

HOPI VISIONS: Journey of the Human Spirit january 7 to december 2, 2018 This coming January, the DMA will open an exhibition of works by Hopi artists. The central piece will be a mural painting—Journey of the Human Spirit (2001)—by Michael Kabotie and Delbridge Honanie. Since its completion, this large-scale work has been on view at the Museum of Northern Arizona (MNA), never traveling until now. Dallas audiences will be able to experience the mural set within one of the Museum’s most intimate galleries and complemented by a rich selection of ancient, modern, and contemporary art objects by ancestral and Hopi artists. Beyond a mutual appreciation for the arts themselves, a series of fortunate events and a generosity of spirit have enriched this project. In 2015, I met Dr. Kelley Hays-Gilpin, Curator of Anthropology at the MNA and Chair of the Department of Anthropology at Northern Arizona University, at the Society for American Archaeology meeting. At a great session dedicated to mural arts of the Americas, she spoke about the subtleties of language and meaning used in the mural, giving a sense of deep connection to the work. In April 2016, Hays-Gilpin enthusiastically agreed to provide a training to DMA docents based on her expertise on the US Southwest. During her visit, she doted over the DMA's small Chaco Canyon style ceramic effigy with four molded hair buns resembling a typical Pueblo female hairstyle (above). She also admired a highly unusual Escavada black-on-white ceramic effigy vessel depicting a burden basket. Both vessels were generous gifts to the Foundation for the Arts and the former will be featured in the upcoming exhibition. Hayes-Gilpin also graciously gave a response to a DMA press inquiry timed for Thanksgiving release in which she posited a correlation between modern Southwest origin narratives and a Classic Mimbres black-on-white bowl (at left) depicting turkeys devouring a centipede: the turkeys’ tails were tipped white due to their slow escape from the rising sea foam of a flood that destroyed a previous creation. The most enjoyable work comes through collaboration with generous individuals and institutions. Although I did not personally know Michael Kabotie (d. 2006) or Delbridge Honanie (d. April 2017), my appreciation of their arts owes not only to their published accounts but also to the enthusiasm of a collaborative curator. Sometimes what and how we see is truly a gift of another’s shared vision. —Dr. Kimberly L. Jones is The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas at the DMA. images: Female effigy, New Mexico, ancestral Pueblo, 1000–1200, ceramic, slip, and paint, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift, 1991.342.FA; Classic Mimbres black-on-white bowl (detail), Mogollon-Mimbres, c. 1000–1150 C.E., ceramic, slip, and paint, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift, 1988.99.FA

of Elegance

THE HOBLITZELLE-SILVER SUPPER BY EDWINA GONZALEZ This year's Silver Supper, held on September 22 and co-chaired by Rusty Duvall and Peggy Sewell, marks the 25th anniversary of this successful event and celebrates the Hoblitzelle Foundation’s 75th anniversary. Through the generosity of the Hoblitzelle Foundation, all of the funds raised directly benefit the DMA’s Decorative Arts Acquisition Endowment Fund. In 1987, the Hoblitzelle Foundation donated its entire collection of 17th- and 18th-century English and Irish silver to the Museum. The collection boasted extraordinary objects, including examples by one of England’s foremost silversmiths, Paul de Lamerie; this year, one of de Lamerie’s covered cups is a prominent feature of the 25th Anniversary Silver Supper. Esther and Karl Hoblitzelle were active in the social, civic, and cultural activities of Dallas between the 1920s and 1960s, establishing their foundation in 1942. They built their silver collection in order to entertain in grand style, often hosting elegant dinner parties in their Dallas home. It was this spirit of collecting and entertaining that inspired the first Silver Supper, held in 1988. Over the years, Silver Supper has raised more than $1.6 million for the Decorative Arts Acquisition Endowment Fund, allowing the Museum to acquire many important works for the decorative arts and design collection. The DMA is proud to partner with the Hoblitzelle Foundation to celebrate these two important milestones, and we are grateful to the many generous donors who have participated in Silver Supper for the past 25 years. —Edwina Gonzalez is the Manager of Special Events at the DMA. images: Esther and Karl Hoblitzelle; Peggy Sewell, Paul Harris, and Rusty Duvall at the Silver Supper Announcement Party; Covered cup, Paul de Lamerie (maker), London, England, 1742, silver, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.186.1.a–b

collection highlights

ANNIVERSARIES

conservation BY SARAH COFFEY Artist Edward Steichen (1879–1973) is famous for his contribution

After carefully unrolling and assessing the canvases, the interns set

to the burgeoning field of photography in the early 20th century.

out to remove a century’s worth of accumulated dust. To accomplish

He began his artistic career, however, with an equal focus on paint-

this, they vacuumed the reverse of the paintings using “a soft-bristle

ing. Throughout this past summer, the Museum had the unique

brush to sweep particulates into a vacuum attachment nozzle,

opportunity to study a group of his murals and uncover what secrets

with the vacuum on a low setting,” explained intern Pamela Johnson.

these rare Steichen paintings might hold. To undertake this extensive

The canvases were stretched on their newly assembled stretchers

analysis, the Museum’s Associate Conservator, Laura Hartman,

and the painted surfaces were then cleaned using innovative

enlisted four Conservation Interns from the University of Delaware

cleaning techniques. Various analytical techniques were used to

Winterthur Program in Art Conservation to be specifically dedicated

study the painting, including X-ray fluorescence to determine the

to the project.

elemental composition of the pigments present.

The murals in question were commissioned by Agnes and Eugene Meyer, friends of Steichen, most likely on a visit to his home in the French countryside on their honeymoon in 1910. Steichen’s Villa L’Oiseau Bleu was a favorite gathering place for his modernist circle, who particularly enjoyed his beautifully cultivated garden. These gatherings inspired the floral personifications of his prominent friends—including Katharine Rhoades, Isadora Duncan, and Marion Beckett—in the 10-foot-tall paintings.

“We are some of the first to unroll them in a hundred years, which is very exciting.”

The Meyers had planned to hang the paintings in the foyer of their Park Avenue townhome in New York. Unfortunately, they had to sell the property due to financial difficulty so the murals were never installed in their intended setting. All seven paintings were only shown together once, in 1915, although a few were exhibited individually during the subsequent decades. For the majority of their existence, most had been rolled in storage tubes. “We are some of the first to unroll them in a hundred years, which is very exciting,” said Hartman. “We have had to really be creative with how we carry out the conservation treatment because we are handling extremely large canvas paintings with unique condition issues resulting from their long-term rolled storage,” said intern Diana Hartman. “The good news is that even with undulations in the canvas due to rolling, the paint is in good condition overall,” notes intern Keara Teeter.

Steichen gave up painting completely in 1923, destroying the majority of his work by burning it. “These murals are an extremely ambitious project that Edward Steichen dedicated himself to almost exclusively from 1910 to 1914. Knowing that many of Steichen's paintings no longer exist today, I feel very lucky to be part of this project,” shared Teeter. The seven murals will be exhibited together, with their historical context, for the first time in over a century in Edward Steichen: In Exaltation of Flowers, curated by the DMA, on view through May 13, 2018. —Sarah Coffey is the Education Coordinator at the DMA.

conservation art here, there, everywhere

art here , there, everywhere

MODERNISM ON THE ROAD Three well-known and well-loved works from the DMA’s European art collection are traveling across the Atlantic to be featured this fall in a trio of prestigious exhibitions focusing on some of the most memorable artists of the 20th century. Amedeo Modigliani’s painting Boy in Short Pants can be seen in the Tate Modern’s comprehensive retrospective of Modigliani’s work opening in November. At the Van Gogh Museum in Amsterdam, Piet Mondrian’s early masterwork Spring Sun (Lentezon): Castle Ruin: Brederode is included in the exhibition The Dutch in Paris 1789–1914, which presents Paris through the work of eight Dutch artists and will later travel to the Petit Palais in Paris. Finally, Henri Matisse’s magnificent Still Life: Bouquet and Compotier will capture attention at Frankfurt’s Städelsches Kunstinstitut und Städtische Galerie as part of Matisse-Bonnard: Long Live Painting!, the first exhibition in Germany to bring these key modern masters together.

SPRING CLEANING It is said that a picture is worth a thousand words, and when it comes to research that couldn’t be more true. Photographs in the DMA Archives have provided information on a variety of topics, from the Level 3 skylights and limestone cladding, to how an artwork was installed in an exhibition, to the design of an event, to what the Dallas Arts District looked like before it was an arts district. To facilitate the use of the Archives’ photography collections, the DMA recently completed a project that transformed boxes of photographs that were a bit disorganized into neat and tidy, usefully arranged, helpfully described, and well-preserved collections. Drawing on years of experience in helping people find historic images, the DMA Archivist, Hillary Bober, arranged the photographs into nine logical subject-based collections: Building, Collection Documentation, Development and Events, Education and Programming, Exhibition Instal-

images: Amedeo Modigliani, Boy in Short Pants, c. 1918, oil on canvas, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc., 1977.1; Piet Mondrian, Spring Sun (Lentezon): Castle Ruin: Brederode, c. late 1909–early 1910, oil on Masonite, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.24.FA, © 2012 Mondrian/Holtzman Trust c/o HCR International Washington DC info@ mondriantrust.com

lation, People, Publications, 90th Anniversary Timeline, and Miscellany.

FRIDA FEST More than 5,000 people helped the DMA celebrate what would have been Frida Kahlo’s 110th birthday on July 6. One of the events during a full evening of festivities was a Guinness World Record attempt, which saw more than 1,000 people gathered on the Museum’s Ross Avenue Plaza dressed in the iconic artist’s image.

OCTOBER

DMA CIRCLE VIEWING DAY Yayoi Kusama: All the Eternal Love I Have for the Pumpkins

TEEN WORKSHOP (three-week program): Introduction to Photography Sundays, October 1, 8, and 15, 1:00–4:00 p.m.

Thursday, September 14, noon–9:00 p.m. Open to Contributor level and above SECOND THURSDAYS WITH A TWIST: Smooth Criminal Thursday, September 14, 5:00–9:00 p.m. ARTS & LETTERS LIVE: Ken Follett Thursday, September 14, 7:30 p.m. DMA MEMBER PREVIEW DAYS Yayoi Kusama: All the Eternal Love I Have for the Pumpkins Friday, September 15–Saturday, September 30, during Museum hours LATE NIGHT Friday, September 15, 6:00 p.m.–midnight Look for special opportunities for DMA Members! LATE NIGHT TALK: Yesterday’s Tomorrows Friday, September 15, 7:00 p.m. SENSORY SCOUTS Sunday, September 17, 1:00–2:30 p.m. DMA CIRCLE OPENING RECEPTION Yayoi Kusama: All the Eternal Love I Have for the Pumpkins

Time after time

ARTS & LETTERS LIVE: Michael Chabon in conversation with Kevin Moriarty Monday, October 2, 7:30 p.m. FIRST TUESDAY: Sense-sational Art Tuesday, October 3, 11:00 a.m.–2:00 p.m. GALLERY TALKS Wednesdays, October 4, 11, 18, 25, 12:15 p.m. STATE OF THE ARTS: Film Animation: Past, Present, Future Thursday, October 5, 7:00 p.m. ARTS & LETTERS LIVE: Dan Brown Friday, October 6, 7:30 p.m.

BOSHELL LECTURE: Walking in the Footsteps of My Grandmother: The Art and Ancestry of Mono Basket Weaving Saturday, October 7, 2:00 p.m.

BASKET WEAVING WORKSHOP Sunday, October 8, 1:00 p.m. ARTS & LETTERS LIVE: Roz Chast Wednesday, October 11, 7:30 p.m.

Monday, September 18, 6:00–8:00 p.m. Open to Contributor level and above

SECOND THURSDAYS WITH A TWIST: Mischief Managed Thursday, October 12, 5:00–9:00 p.m.

MEANINGFUL MOMENTS: Portraits Tuesday, September 19, 10:00–11:30 a.m.

Saturday, October 14, 1:00–2:30 p.m.

GALLERY TALKS Wednesday, September 20 and 27, 12:15 p.m.

SENSORY SCOUTS Sunday, October 15, 1:00–2:30 p.m.

AUTISM AWARENESS FAMILY CELEBRATION: Fun at the Fair Saturday, September 23, 9:00–11:00 a.m.

calendar

SEPTEMBER

FAMILY WORKSHOP: A Feast for the Senses

DMA CIRCLE OPENING RECEPTION Truth: 24 frames per second

g. f.

Wednesday, October 18, 6:00–8:00 p.m. Open to Contributor level and above

DMA MEMBERS ENJOY A 10% DISCOUNT.

ARTS & LETTERS LIVE: Letters Aloud: FAME– EXHIBITION price TALK:$270; Truth:b.24wall framesclock–goldfish per second Letters aboutnelson fame fromasterisk the famousclock, 1950 $300/Member a. george orange $45/Member price $40.50; c. george nelson steering Thursday, October 19, 7:00 p.m. Sunday, September 24, 2:30 p.m. wheel clock, 1948 $360/Member price $324; d. mona lisa wall clock $40/Member price $36; e. ultra flat multi color wall clock $55/Member price $49.50; f. george nelson turbine clock, 1957PREVIEW $550/Member price $495; g. wall clock–french blue $45/Member price $40.50 DMA MEMBER DAYS DMA CIRCLE DIRECTOR'S LUNCHEON Truth: 24 frames per second Tuesday, September 26, noon Open to Associates and Collectors (Fellows and above will receive an invitation to another exclusive event with the Director later in the year) HOMESCHOOL CLASS FOR FAMILIES: Who Are You? September 28 or 29, 11:00 a.m.–12:30 p.m.

Thursday, October 19, 6:00–9:00 p.m. Friday, October 20, 11:00 a.m.–midnight Saturday, October 21, 11:00 a.m.–5:00 p.m.

LATE NIGHT Friday, October 20, 6:00 p.m.–midnight Look for special opportunities for DMA Members! LATE NIGHT TALK: The Art of Making Monsters Friday, October 20, 7:00 p.m. DMA MEMBER OPENING RECEPTION Truth: 24 frames per second Sunday, October 22, 6:00–8:00 p.m. ARTS & LETTERS LIVE: Walter Isaacson Thursday, October 26, 7:30 p.m. ARTS & LETTERS LIVE: An Evening Celebrating Two Giants: Juan Rulfo and Cardona Peña Monday, October 30, 7:30 p.m.

HUNGRY? Grab a bite to eat in one of our DMA cafes. Don't forget—DMA Members enjoy a 10% discount.

Three well-known and well-loved works from the DMA’s European art collection are traveling across the Atlantic

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art here , there, everywhere

MODERNISM ON THE ROAD

to be featured this fall in a trio of prestigious exhibitions

NOVEMBER

DECEMBER

GALLERY TALKS

TODDLER ART: Crazy for Color December 1, 8, or 12, 11:00 a.m.–noon

Wednesday, November 1, 8, 15, 12:15 p.m.

be seen in the Tate Modern’s comprehensive retrospective

TODDLER ART: Little Bookworms

of Modigliani’s work opening in November. At the Van Gogh

November 3, 10, or 14, 11:00 a.m.–noon

DMA MEMBER—ONLY EXHIBITION TALK: Yayoi Kusama: All the Eternal Love I Have for the Pumpkins Saturday, December 2 Open to Ambassador level and above

KIDS CLUB Saturday, November 4, 9:00–11:00 a.m.

Tuesday, December 5, 11:00 a.m.–2:00 p.m.

FIRST TUESDAY: Tremendous Trees Tuesday, November 7, 11:00 a.m.–2:00 p.m.

ARTURO’S ART & ME: Kings & Queens December 6, 7, or 9, 11:00 a.m.–12:30 p.m.

focusing on some of the most memorable artists of the 20th century. Amedeo Modigliani’s painting Boy in Short Pants can

Museum in Amsterdam, Piet Mondrian’s early masterwork Spring Sun (Lentezon): Castle Ruin: Brederode is included in the exhibition The Dutch in Paris 1789–1914, which presents Paris through the work of eight Dutch artists and will later travel

SECOND ANNUAL ROSENBERG FÊTE Thursday, November 2, 5:00–9:00 p.m.

FIRST TUESDAY: Dreams of Snow

to the Petit Palais in Paris. Finally, Henri Matisse’s magnificent SECOND THURSDAYS WITH A TWIST: Still Life: Bouquet and Compotier will capture attention at Frank- Who Run the World?

FAMILY WORKSHOP: All in the Family Saturday, December 9, 1:00–2:30 p.m.

furt’s Städelsches Kunstinstitut und Städtische Galerie as

FAMILY WORKSHOP: Flower Power Saturday, November 11, 1:00–2:30 p.m.

ART BABIES: Water Babies Monday, December 11, 10:00 a.m., 11:00 a.m., or noon

ART BABIES: Water Babies Monday, November 13, 10:00 a.m., 11:00 a.m., or noon

HOMESCHOOL CLASS FOR FAMILIES: All in the Family December 14 or 15, 11:00 a.m.–12:30 p.m.

ARTS & LETTERS LIVE: Annie Leibovitz Tuesday, November 14, 7:30 p.m.

SECOND THURSDAYS WITH A TWIST: In a Galaxy Far, Far Away Thursday, December 14, 5:00–9:00 p.m.

ISLAMIC ART CELEBRATION

SENSORY SCOUTS Sunday, December 17, 1:00–2:30 p.m.

part of Matisse-Bonnard: Long Live Painting!, the first exhibition in Germany to bring these key modern masters together.

Thursday, November 9, 5:00–9:00 p.m.

DMA MEMBER EXCLUSIVE KICKOFF LECTURE: Her Royal Princess Lalla Joumala, Morocco's Ambassador to the United States Wednesday, November 15, 7:00 p.m.

MEANINGFUL MOMENTS: Edward Steichen Tuesday, December 19, 10:00–11:30 a.m.

KEYNOTE TALK Thursday, November 16, 7:00 p.m.

For a full schedule of events,

LATE NIGHT Friday, November 17, 6:00 p.m.–midnight Look for special opportunities for DMA Members!

are subject to change.

LATE NIGHT TALK: Highlights from the Keir Collection Friday, November 17, 7:00 p.m. BOSHELL LECTURE: Istanbul: City of Majesty at the Crossroads of the World Friday, November 17, 9:00 p.m.

HOMESCHOOL CLASS FOR FAMILIES: Flower Power November 16 or 17, 11:00 a.m.–12:30 p.m. ARTS & LETTERS LIVE: Dan Rather Thursday, November 16, 7:30 p.m. SENSORY SCOUTS Sunday, November 19, 1:00–2:30 p.m. DMA MEMBER BOOK TALK: Clara and Mr. Tiffany, by Susan Vreeland Sunday, November 19, 2:00 p.m. MEANINGFUL MOMENTS: Landscapes Tuesday, November 21, 10:00–11:30 a.m. ARTS & LETTERS LIVE: Daniel Mendelsohn Wednesday, November 29, 7:30 p.m.

visit DMA.org. Programs and dates

store

Time after time

b. a. c.

e. d. g. f.

DMA MEMBERS ENJOY A 10% DISCOUNT. a. george nelson asterisk clock, 1950 $300/Member price $270; b. wall clock–goldfish orange $45/Member price $40.50; c. george nelson steering wheel clock, 1948 $360/Member price $324; d. mona lisa wall clock $40/Member price $36; e. ultra flat multi color wall clock $55/Member price $49.50; f. george nelson turbine clock, 1957 $550/Member price $495; g. wall clock–french blue $45/Member price $40.50

HUNGRY? Grab a bite to eat in one of our DMA cafes. Don't forget—DMA Members enjoy a 10% discount.

Nonproﬁt Organization U.S. Postage PAID Dallas, Texas Permit No. 1920

1717 north harwood st dallas tx 75201

PL AN YOUR MUSEUM VISIT MEMBER INFORMATION 214-922-1247 members@DMA.org DMA.org/members 1717 North Harwood St Dallas TX 75201

PARKING

ONLINE COLLECTION Enhanced access to the Museum's entire collection—now numbering more than 24,000 works—with the click of a mouse at DMA.org/collection.

EVENT TICKETS To purchase event tickets, visit DMA.org/ tickets or call 214-922-1818. Tickets are also available on-site. Members receive free or discounted tickets.

Parking is located in the Museum’s underground garage. DMA Members receive free parking during Museum hours (based on availability).

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SPECIAL EVENTS To host an event or daytime meeting at the Museum, call 214-922-1382 or e-mail specialevents@DMA.org.

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