Artifacts - Winter–Spring 2017 by Dallas Museum of Art

Member Magazine winter 2017

director’s note note director’s

TIN O E

This exhibition—broad and beautiful—is close to my heart, as I worked on it for several years prior to my appointment as The Eugene McDermott Director. It is based on the idea that Mexican art did not aspire to be part of the European avant-garde but instead sought to develop its own vanguard. The Mexican artists who had settled mostly in Paris in the first decades of the last century returned to their country with the ambition of creating a national art that would have its roots in the past, but would optimistically turn toward the future. The exhibition also offers a wider panorama of the artists who make this renaissance in Mexican art history so Made possible by

important, and perhaps introduces little-known artists to the wider public. I am immensely grateful to the Secretaría de Cultura/

We were delighted to officially announce on January 13

Instituto Nacional de Bellas Artes/Museo Nacional de

the addition of México 1900–1950: Diego Rivera, Frida Kahlo,

Arte, México (MUNAL), DMA Members and staff, Dallas

José Clemente Orozco, and the Avant-Garde to our exciting

leadership, and the community of this energetic city

2017 exhibition schedule. The DMA has a rich history

for eagerly taking on the task of bringing this important

of collecting and presenting Mexican art, and México

exhibition to the Museum, thereby broadening our

1900–1950 offers our visitors the opportunity to explore

understanding of what modern Mexican art means and

in-depth the diverse and vibrant voices that distinguish

diversifying the artistic narratives attributed to the

Mexican art during the first half of the 20th century.

country of Mexico.

The exhibition, which comes exclusively to Dallas from its celebrated presentation at the Grand Palais in Paris, re-examines the stereotypes produced in the history of this art to give a faithful account of the ambitious

I hope to see you and your family and friends this spring—México 1900–1950 and many exhibitions and programs await you!

spirit of this major period of national artistic history in Mexico.

Agustín Arteaga The Eugene McDermott Director

director’s note

THIS ISSUE

MEDIEVAL TO MODERN

SECOND GENERATION

A contemporary artist

The son of collector

reveals why medieval

Edmund de Unger reveals

stained glass is her

what it is like to see the

inspiration.

Keir Collection on view in Dallas.

Members-Only Events DMA MEMBER PREVIEW DAYS

MARKING HER TIME

PROGRAMMING Thursday, March 9, 6:00–9:00 p.m. POP CULTURE Friday, March 10, 11:00 a.m.–5:00 p.m.

The remarkable legacy

How the DMA team

of the redoubtable

launched the new program

Betty Blake

Off the Wall

Saturday, March 11, 11:00 a.m.–5:00 p.m. DMA CIRCLE OPENING RECEPTION Wednesday, March 8, 6:00–8:00 p.m. DMA MEMBER OPENING CELEBRATION Friday, March 10, 6:00–8:00 p.m.

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

Related Events

queta moore watson, Managing Editor

Related events will include talks, tours, films, an international

rebecca winti, Art Director

symposium, family activities, Late Night, and much more.

gregory castillo,

Photographer

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

images: Diego Rivera, Juchitán River (Río Juchitán), 1953–55, oil on canvas on wood, Mexico, INBA, Museo Nacional de Arte, © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; Tiburcio Sánchez de la Barquera, Escandón Arango Family Portrait (Retrato de la Familia Escandón Arango), 1867, oil on canvas, Mexico, INBA, Museo Nacional de Arte, © Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017; Manuel Álvarez Bravo, The Washerwomen Implied (Las lavanderas sobreentendidas), 1932, gelatin silver plate, Acervo Museo de Arte Moderno/INBA, © Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017; Jorge González Camarena, The Bathers (Las bañistas),

cover :

1937, oil on canvas, Mexico, INBA, Museo Nacional de Arte, Donation Fundación Manuel Arango A.C., 2011,

Frida Kahlo, The Two Fridas (Las dos Fridas) (detail), 1939, oil on canvas, Mexico, INBA, collection Museo de Arte Moderno, © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City; Frida Kahlo, Itzcuintli Dog with Me © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

this page:

Stained glass panel with white rose decoration (detail), Colmar?, Rhine Valley, Alsace (present-day France), c. 1330, colored glass and Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York grisaille, Musée de Cluny, musée national du Moyen Âge, Paris, Cl. 13747 k, © RMN-Grand Palais/Art Resource, NY. Photograph: Gérard Blot; Khamsa of Nizami (detail), Mughal India, c. 1585–90, work on paper, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.18

director’s note note director’s

THIS SEASON CAREY YOUNG: The New Architecture February 2–April 2, 2017

19TH ANNUAL YOUNG MASTERS EXHIBITION February 25–April 16, 2017

MÉXICO 1900–1950 Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde March 12–July 16, 2017

ART AND NATURE IN THE MIDDLE AGES Through March 19, 2017 TIN O E

This exhibition—broad and beautiful—is close to my I worked on it for several years prior to my WAXED:heart, Batik as from Java appointment The Eugene McDermott Director. It is Through September 10,as2017 based on the idea that Mexican art did not aspire to be

SHAKEN, STIRRED, STYLED: The Art ofbut theinstead Cocktailsought to part of the European avant-garde Through November 2017 develop its 12, own vanguard. The Mexican artists who had settled mostly in Paris in the first decades of the last century returned to their country with the ambition of

MARK YOUR CALENDAR creating a national art that would have its roots in the but would optimistically turn toward the future. IRIS VANpast, HERPEN: Transforming Fashion The exhibition May 21–August 20, 2017 also offers a wider panorama of the artists who make this renaissance in Mexican art history so Made possible by

VISIONSimportant, OF AMERICA and perhaps introduces little-known artists Three Centuries Printspublic. from the National Gallery of Art to theofwider May 28–September 4, 2017 I am immensely grateful to the Secretaría de Cultura/

We were delighted to officially announce on January 13

Instituto Nacional de Bellas Artes/Museo Nacional de

DON’TArte, FORGET! México (MUNAL), DMA Members and staff, Dallas

the addition of México 1900–1950: Diego Rivera, Frida Kahlo,

leadership, and the community of this energetic city José Clemente Orozco, and the Avant-Garde to our exciting MEMBERS GET MORE. 2017 exhibition schedule. The DMA has a rich history

for eagerly taking on the task of bringing this important

of collecting and presenting Mexican art, and México

exhibition to the Museum, thereby broadening our

1900–1950 offers our visitors the opportunity to explore

understanding of what modern Mexican art means and

in-depth the diverse and vibrant voices that distinguish

diversifying the artistic narratives attributed to the

Mexican art during the first half of the 20th century.

country of Mexico.

More benefits. More access. More fun.

I hope to see you and your family and friends this spring—México 1900–1950 and many exhibitions and programs await you!

spirit of this major period of national artistic history in Mexico.

Agustín Arteaga The Eugene McDermott Director

director’s note

Members-Only Events DMA MEMBER PREVIEW DAYS Thursday, March 9, 6:00–9:00 p.m. Friday, March 10, 11:00 a.m.–5:00 p.m. Saturday, March 11, 11:00 a.m.–5:00 p.m. DMA CIRCLE OPENING RECEPTION Wednesday, March 8, 6:00–8:00 p.m. DMA MEMBER OPENING CELEBRATION Friday, March 10, 6:00–8:00 p.m.

Related Events Related events will include talks, tours, films, an international symposium, family activities, Late Night, and much more. For details, registration, and tickets, visit DMA.org. images: Diego Rivera, Juchitán River (Río Juchitán), 1953–55, oil on canvas on wood, Mexico, INBA, Museo Nacional de Arte, © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; Tiburcio Sánchez de la Barquera, Escandón Arango Family Portrait (Retrato de la Familia Escandón Arango), 1867, oil on canvas, Mexico, INBA, Museo Nacional de Arte, © Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017; Manuel Álvarez Bravo, The Washerwomen Implied (Las lavanderas sobreentendidas), 1932, gelatin silver plate, Acervo Museo de Arte Moderno/INBA, © Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017; Jorge González Camarena, The Bathers (Las bañistas), 1937, oil on canvas, Mexico, INBA, Museo Nacional de Arte, Donation Fundación Manuel Arango A.C., 2011, © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City; Frida Kahlo, Itzcuintli Dog with Me (Perro Itzcuintli conmigo), c. 1938, oil on canvas, Private Collection, © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

exhibitions

BY J U D I T H S C H A EC H T E R

ART AND NATURE IN THE MIDDLE AGES

old medieval windows of saints and martyrs. They seem to

through march 19, 2017

be caught in a transitional moment when despair becomes

Art and Nature in the Middle Ages explores medieval works in a

between the threshold of everyday reality and epiphany,

variety of media, including beautiful examples of stained glass.

caught between tragedy and comedy.

This particular art form was perfected during the Middle Ages, and little has changed in the practice of making stained glass in the ensuing centuries. While this once fairly common medium is not widely used by contemporary artists, Philadelphia-based artist Judith Schaechter is known for her work in stained glass. Artifacts asked her why she is drawn to working in this medium and what similarities she sees between modern stained glass

hope or darkness becomes inspiration. They seem poised

My work is centered on the idea of transforming the wretched into the beautiful—say, unspeakable grief, unbearable sentimentality, or nerve-wracking ambivalence—and representing it in such a way that it is inviting and safe to contemplate and captivating to look at. I am at one with those who believe art is a way of feeling one's feelings in a deeper, more poignant way.

works and those created in the Middle Ages. Medieval windows sought to confer inspiration and enStained glass reached its peak in the 12th century and it’s been downhill since then. Perhaps stained glass is an odd medium to choose if one wishes to participate in the world of contemporary fine art, and, indeed, it is! Yet, I found it altogether irresistible.

lightenment on those who saw them. Beholding a stained glass window can enable, encourage. and literally enact the process of being filled with light. It sounds like some kind of preternatural phenomenon, but it’s a physical fact. While one is busy identifying and empathizing with the image,

Although I went to art school to study painting, I knew al-

one also experiences physically the warming, filling sensa-

most instantly when I tried stained glass that it was what I

tions of light. It’s so persuasive not because the pictures

wanted to pursue for the rest of my life. Why? I felt “in sync”

are convincing narratives but because the colors are

with glass. When I was a painter, I painted fast and furious-

overwhelming and the light is sublime—and, by golly, it’s

ly, and ultimately threw everything out. This didn’t happen

coming from inside you, it’s part of you.

with glass because it was so labor intensive. By the time I managed to do something to the glass, I had developed feel-

Judith Schaechter has lived and worked in Philadelphia since graduating in 1983 with a BFA

ings of attachment and was hardly going to throw it away.

from the Rhode Island School of Design Glass Program. Her work is in the collection of the Metropolitan Museum of Art, the Victoria and Albert Museum, the Hermitage, the Philadel-

I found the beauty of stained glass to be the perfect counterpoint to ugly and difficult subjects. Although the figures I work with are supposed to be ordinary people doing ordinary things, I see them as having much in common with the

phia Museum of Art, the Corning Museum of Glass, the Renwick Gallery of the Smithsonian Institution, and numerous other public and private collections.

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

GALLERY TALKS Wednesday, February 8 and March 15, 12:15 p.m.

FAMILY WORKSHOP: FANTASTIC BEASTS Saturday, February 11, 1:00–2:30 p.m.

TEEN HOMESCHOOL WORKSHOP: STAINED GLASS Friday, February 24, 11:00 a.m.–12:30 p.m.

ARTS & LETTERS LIVE BOOKSMART EVENT Adam Gidwitz: Knights, Dragons, and Friendship in the Middle Ages Sunday, February 26, 3:00 p.m.

ART & NATURE EXHIBITION TALK Thursday, March 2, 7:00 p.m.

INTERMEDIATE CALLIGRAPHY WORKSHOP with Lyndsay Wright Saturday, March 4, 1:00–4:00 p.m.

SPRING BREAK PROGRAMS FOR FAMILIES Tuesday–Friday, March 14–17, 11:00 a.m.–5:00 p.m.

LATE NIGHT Friday, March 17, 6:00 p.m.–midnight

Art and Nature in the Middle Ages is made possible through generous loans from the collection of Musée de Cluny, musée national du Moyen Âge, Paris. The exhibition is presented by Texas Instruments. Additional support is provided by the Marguerite and Robert Hoffman Operating Fund.

made possible by

program support

presented by

images: (opposite) Stained glass roundel with Saint Catherine, France, fourth quarter of the 15th century, white glass, grisaille, and silver stain, Musée de Cluny, musée national du Moyen Âge, Paris, Cl. 23661, © RMN-Grand Palais/Art Resource, NY. Photograph: Franck Raux; (this page) Stained glass panel with maple leaf decoration, Colmar(?), Rhine Valley, Alsace (present-day France), c. 1330, colored glass and grisaille, Musée de Cluny, musée national du Moyen Âge, Paris, Cl. 13747 e, © RMN-Grand Palais/Art Resource, NY. Photograph: Jean-Gilles Berizzi

exhibitions

RELATED EVENTS

collection highlights THE DMA INAUGURATES THE KEIR COLLECTION OF

looking back . . . I only realized the extent of that privilege later in

ISLAMIC ART GALLERY ON APRIL 18. THE LONG-TERM

my teens.

INSTALLATION WILL SHOWCASE OVER 100 WORKS FROM

SABIHA: What can you tell me about your father [Edmund de Unger]

THE KEIR COLLECTION, INCLUDING A SUBSTANTIAL

as a collector?

NUMBER OF WORKS THAT HAVE NEVER PREVIOUSLY BEEN

RICHARD: He was passionate. He had an exceptional eye. After the

EXHIBITED. DR. SABIHA AL KHEMIR, THE DMA’S SENIOR

pieces passed the “beauty test,” he moved on to the intellectual

ADVISOR FOR ISLAMIC ART, SAT DOWN WITH RICHARD

approach. He loved going to auctions and antique shops all over the

DE UNGER, SON OF THE COLLECTOR OF THE KEIR

world. He had a genuine love for art. L’art pour l’art—art for art’s sake.

COLLECTION, TO DISCUSS HIS PASSION FOR THE COLLEC-

SABIHA: For me, there is something wonderful in seeing what Islamic

TION AND PLEASURE ON SEEING IT PRESENTED IN DALLAS.

art can give to the world, a joy in seeing the visitors’ emotional

SABIHA: Richard, do you remember when we first met to discuss

responses—you look at a beautiful piece and life energy blossoms in your heart.

the Keir Collection in 2013? RICHARD: Very well indeed. Our conversation was intense from

RICHARD: It’s an interesting journey and long may it continue.

the first moment—and the rest is history. Dallas was an obvious choice. I had read about the DMA’s intention of expanding its encyclopedic collection with a particular reference to art from Islamic lands. And that struck empathy as I was at the time looking for a venue. SABIHA: How do you feel about seeing the Keir Collection in Dallas? RICHARD: Your first installation of the rock crystal in 2014 was seminal—it was treated like royalty, which the piece deserves. The Spirit and Matter exhibition, with 132,000 visitors, is a great success story. It means that many people have seen the beauty of Islamic art. The new gallery will allow the public to look, question, admire, and draw their own conclusions. The Trustees of the Keir

DMA MEMBER PREVIEW DAYS

Collection have great peace of mind that the collection is in Dallas.

Thursday, April 13, 6:00–9:00 p.m.

SABIHA: What was it like living with these works as part of

Friday, April 14, 11:00 a.m.–5:00 p.m.

your childhood? RICHARD: They were like an umbilical cord to my childhood

The Keir Collection of Islamic Art is presented by Kosmos Energy.

memories. My father had two flats—one for the family and one for

presented by

the collection. I remember visiting often. Later, it was inherently part of my existence, and I was aware, because of these pieces, that our home was different from other homes. It was a privilege;

images: (clockwise on opposite page) Bowl with stripe design in blue glaze on white ground, 12th–13th century, ceramic, K.1.2014.298; Combination padlock, Iran, dated 889 A.H./1483 C .E., brass, K.1.2014.200; Khamsa of Nizami, Mughal India, c. 1585–90, work on paper, K.1.2014.18; Jug, Iran, second half of the 12th century, ceramic, K.1.2014.202; All works are from the Keir Collection of Islamic Art on loan to the Dallas Museum of Art; (this page) Mr. Richard de Unger and Dr. Sabiha Al Khemir discuss the Homberg ewer in the Walter and Laura Elcock Study Gallery at the DMA.

IN FOCUS

DMA MEMBERS PERK S & PIX

6 1: jess hardin, connie thompson, nicole roberts

7 4–5: member meet and greet with agustín arteaga

2: member meet and greet with agustín arteaga

6: member preview of art and nature in the middle ages

3: sarah roby and joe abbey at the member meet and greet with agustín arteaga

7: james dowell and john kolomvakis

8â&#x20AC;&#x201C;9: member preview of divine felines: cats of ancient egypt 10: junior associates holiday party 11: meet and greet with bob briar in the october late night member bar

12: peggy and carl sewell at the silver supper announcement party 13: silver supper announcement party

DMA CIRCLE AND DMA COUNCIL Gifts to the DMA support our mission to advocate for the essential place of art in the lives of people locally and around the globe. The generosity of individual donors, corporate sponsors, institutional funders, and volunteers enables us to provide innovative educational and public programming, wide-ranging exhibitions, and free access to our expansive global collection. Thank you to all of our donors, especially the following members of the DMA Circle.

giving councils The following donors have supported the Museum with an annual gift greater than $50,000 in FY 2016.

chairman’s council Deedie and Rusty* Rose

president’s council Anonymous Jennifer and John Eagle/John Eagle Dealerships Amy Faulconer Marguerite Steed Hoffman Margot and Ross Perot Allen and Kelli Questrom Cindy and Howard Rachofsky

director’s council Nancy and Clint Carlson Mr. and Mrs. Robert Henry Dedman, Jr. Claire Dewar Laura and Walter Elcock Tim Hanley Catherine and Will Rose Peggy and Carl Sewell Paul and Gayle Stoffel

dma circle The following DMA Members have supported the Museum with memberships from $5,000 to $25,000 as of June 30, 2016.

benefactor Mr. and Mrs. James P. Barrow Steven and Carolyn Becker Diane and Hal Brierley Mary Anne Cree Arlene and John Dayton Mr. and Mrs. Steven H. Durham Rosemary and Roger Enrico Mr. and Mrs. William C. Estes Melissa and Trevor Fetter Sharon Hage Mr. and Mrs. Jeremy L. Halbreich Fanchon and Howard Hallam Julie and Ed Hawes Ann and Lee Hobson S. Roger Horchow Norma K. Hunt Gene and Jerry Jones Mr. and Mrs. William M. Lamont, Jr. Dr. and Mrs. Mark L. Lemmon Charlene and Tom Marsh Margaret McDermott Cynthia and Forrest Miller Susan and Bill Montgomery Nancy A. Nasher and David J. Haemisegger Mr. and Mrs. Jay Pack Carolyn and Karl Rathjen Mr. and Mrs. William T. Solomon, Sr. David and Ann Sutherland Sharon and Michael Young

leader Ruth and Ken Altshuler Mr. and Mrs. Christopher Bancroft Melanie and Tim Byrne Molly Byrne Kay and Elliot Cattarulla Rusty and Bill Duvall Mr. and Mrs. Jeffrey S. Ellerman Mr. and Ms. Finley Ewing Dorace M. Fichtenbaum* Mr. and Mrs. Randall S. Fojtasek Mr. and Mrs. Donald S. Freeman, Jr. Dr. and Mrs. Kenneth M. Hamlett Mr. and Mrs. Harlan Korenvaes Inge-Lise and Jack Lane Mr. and Mrs. Mark H. LaRoe Bonnie Pitman Karen and Richard Pollock Mr. and Mrs. Robert G. Pollock Mr. and Mrs. Jean-Claude T. Saada Nancy Shutt Donna M. Wilhelm Mr. and Mrs. J. McDonald Williams

fellow Kim J. Askew Mr. and Mrs. J. Gabriel Barbier-Mueller Mrs. Franklin Bartholow Charron and Peter Denker Jeanne and Sanford P. Fagadau* Mr.* and Mrs. John A. Hammack Mr. and Mrs. Doyle Hartman Lyda H. Hill Kim and Tony Horton Mrs. Murray S. Johnson Al Khotanzad and Sogand Shoja Mr. and Mrs. J. Luther King, Jr. Mr. and Mrs. Jack Lafield Irvin and Joan Levy Emily Maduro and Joseph J. Wielebinski Joyce and Harvey Mitchell Mr. and Mrs. Richard T. Mullen Cyrena Nolan Janelle and Alden Pinnell Mr. and Mrs. John C. Rocchio Mr. and Mrs. Jack E. Swindle Joanna and T. Peter Townsend Patricia Villareal and Tom S. Leatherbury Martha M. Wells Christen and Derek Wilson

collector Anonymous (2) Sheryl Adkins-Green and Geoff Green Mr. and Mrs. William Armstrong Jill C. Bee Dr. and Mrs. James Bentley Brenda H. Berry and Robert G. Berry Mr. and Mrs. Gene H. Bishop Mr. and Mrs. Robert M. Briggs Mr. and Mrs. Henri Bromberg III Mr. and Mrs. Robert Buford Mr. and Mrs. Stuart M. Bumpas Bonnie E. Cobb Mr. and Mrs. George W. Coleman Frances H. Collins* Alessandra Comini Mary M. Cook Marilyn Corrigan Edwin L. Cox Martin S. Cox

Gerry Cristol Carol Crowe and David Christal Hannah and Stuart Cutshall Helen Buchanan Davis and Christina Seeger Pacetti Mr. and Mrs. H. J. Davitt Peggy Dear Barbara Delabano Bradbury Dyer III Patti Elliott Thomas Fagadau Amy and Lee Fikes Mr. and Mrs. Robert E. Gibson Betty and James Goble Mr. and Mrs. Jim Gold James A. Griffin Linda W. Hart and Milledge Alfonso Hart III Mr. and Mrs. Jeffrey M. Heller Mr. and Mrs. Philip C. Henderson Marian Hines Mr. and Mrs. Jon Jacoby Kim Jordan Mr. and Mrs. Barron U. Kidd Anne Kimbrough Marilyn Klepak Mr. and Mrs. Peter A. Kraus Mr. and Mrs. John Ford Lacy Mr. and Mrs. John Ridings Lee Mr. and Mrs. John I. Levy John Lunsford Joy and Ronald Mankoff Linda Marcus Mr. and Mrs. William S. McIntyre IV Mr. and Mrs. John D. McStay Dr. and Mrs. Venu Menon Mr. and Mrs. Howard M. Meyers Charles Nearburg Xuan-Thao Nguyen and Erik Hille Angela D. Paulos Lucilo Peña and Lee Cobb Nancy Perot and Rod Cain Jones Mr. and Mrs. Joseph Popolo, Jr. Mr. and Mrs. Martin Price Vin and Caren Prothro Foundation Mr. and Mrs. Patrick Rayes Mr. and Mrs. Eric Reeves Mr. and Mrs. Charles R. Ritchey Carol Robbins Mr. and Mrs. Peter H. Roberts Margaret J. Rogers Mr. and Mrs. Daniel G. Routman Mr. and Mrs. Robert V. Rozelle Mary Jane and Frank Ryburn Mr. and Mrs. Stephen H. Sands Cynthia and Armond Schwartz Jason B. Sowell, Jr. Mr. and Mrs. Andre Staffelbach Mr. and Mrs. Jeremy Strick Mr. and Mrs. Russell Sublette Greg Swalwell and Terry Connor Mr. and Mrs. Michael F. Terry Christopher J. Vesy and Alan E. Roller Mr. and Mrs. Chad Vose Thomas B. Walker, Jr. Eugenia G. Whitten and Robert E. Wilhelm Dr. and Mrs. Kern Wildenthal Jean D. Wilson John R. Young *Deceased

behind the scenes

MAKING HER MARK BY EMILY SCHILLER Alfred Jensen’s The Ten Thousand Things, on view in the Stoffel Quadrant Gallery, joined the DMA's collection as a gift from the

In 1951, Blake opened the Betty McLean Gallery with a debut featuring works by 19th-century Europeans such as Pierre-Auguste Renoir and Henri Matisse. Her gallery quickly became a critical venue for local patrons to see works by leading artists from New York City, Texas, and Mexico. Although she moved on from a career as a gallerist, her enthusiasm for contemporary art never waned. When clashing ideologies led to the creation of the Dallas Museum for Contemporary Arts (DMCA) in 1957, Blake played a central role. After the merger of the DMCA with the DMFA in 1963, she continued her advocacy for the collection and institution, which subsequently became the Dallas Museum of Art.

estate of DMA trustee Betty Blake. On December 11, 150 guests—

During her life, Blake enabled works by pivotal figures such as

members of the Blake family, friends, longstanding DMA donors,

Diego Rivera, James Rosenquist, Robert Rauschenberg, and David

and supporters of the community—gathered to honor Blake and

Bates to enter the DMA's collection. Her generosity is illustrat-

her unbridled passion for art, the DMA, and Dallas. It is the

ed in new ways through works such as Jensen’s The Ten Thousand

Museum’s honor and privilege to be the custodians of this work,

Things, a monumental tapestry of thick paint laid down into a

and of Betty Blake’s memory.

geometric patchwork. Jensen’s inclusion of the title bracketed

Blake passed away at the age of 100, but her impact on the visual arts in North Texas will last for generations. Upon arriving in Dallas in 1943, Blake was dismayed by the lack of contemporary art in the Dallas Museum of Fine Arts (DMFA). Raised in Philadelphia and Newport, Rhode Island, Blake applied a similar criticism to the Louvre’s galleries during her weekly visits as a student of Madame Chapon’s School in 1931.

by the words “Heaven” and “Earth” on the canvas’s lower edge suggests the multitude of brushstrokes that represent a lifetime of people, places, or events. For Blake, ten thousand marks does not adequately tally her contributions to the arts in Dallas and Fort Worth. — Emily Schiller is a Digital Collections Content Coordinator at the DMA.

art here, there, and everywhere

YOU SAY GOODBYE

After four and a half groundbreaking years at the DMA, Mark Leonard,

What I love about the contemporary collection at the DMA is its

the Museum’s first Chief Conservator, will be retiring—for the second

inclusion of multiple voices and viewpoints in the ongoing debate

time—to the sun-drenched California desert. Leonard stepped down

surrounding the role of the art object, which is now more import-

in 2010 as the Head of the Paintings Conservation Department at the

ant than ever. As a specialist of Latin American art, I was thrilled to

J. Paul Getty Museum to pursue his career as an artist. Prior to join-

see a work by the duo Allora and Calzadilla, Under Discussion (2005),

ing the Getty, he worked in the Paintings Conservation Department

represented in the collection as I researched the Museum's holdings.

at the Metropolitan Museum of Art. His DMA appointment in 2012

This video takes as its point of departure the history of Vieques, a

signaled the initial phase of the development of the Museum’s conser-

bomb-testing site in Puerto Rico that was used by the United States

vation program, which included the addition of staff and the renova-

Navy from 1941 until 2003. The title privileges the power of verbal

tion of its on-site spaces to include a paintings conservation studio.

communication in both questioning and resisting.

While at the DMA, Leonard carefully stewarded the collection and

In an early visit to the DMA, I encountered three works from the

built a robust and comprehensive conservation program. He was

contemporary collection that get to the heart of what art does

responsible for carrying out major treatments on over 60 works of

and how it can communicate: Jasper Johns’ Device (1961–62), Martin

art, ranging from the restoration of a rare early Renaissance Spanish

Puryear’s Noblesse O. (1987), and Christian Marclay’s Telephones (1995).

panel painting, to Jacques Blanchard’s 17th-century oil painting Zeus

In Device, Johns incorporates language and utilitarian objects into

and Semele, to a work by Texas artist Julian Onderdonk that had been

his otherwise painterly canvas, which challenges the aura that we

confined to storage for decades because of its poor state of preser-

endow both to art and to the artist who creates it. Puryear’s Noblesse

vation. He also collaborated with private collectors on the study and

O. evokes a form that seems either functional or ceremonial (perhaps

care of their collections in order to present the work in the Museum

a bullhorn or megaphone?), but has no real-world equivalent or pur-

galleries for all to see. Under Leonard's direction, the DMA also

pose. In Telephones, Christian Marclay foregrounds another device,

established a network of regional conservation partnerships with

one that revolutionized communication. Piecing together clips from

museums in North Texas and local universities to collaborate on

Hollywood movies, he represents the everyday act of speaking on the

conservation research and the study of individual works. The DMA

phone as mediated through the fiction and glamour of cinema.

and the Amon Carter Museum of American Art are currently working with the University of Texas at Dallas and the University of North Texas in Denton on conservation science projects. Although he will surely be missed, the impact of his time at the DMA will not soon be forgotten—and evidence of it will continue to be seen throughout our institution.

Together these works not only exemplify how art communicates to viewers, but they make us think deeply about how we communicate with each other: practically or symbolically, in dialogue or in isolation. —Anna Katherine Brodbeck is the newly appointed Nancy and Tim Hanley Assistant Curator of Contemporary Art at the DMA.

BY JULIE HENLEY “Life ain’t so bad at all if you live it off the wall,” and in this particular case, the Adult Programming team was in sync with Michael Jackson. This spring, the group spent countless hours dreaming up a new program for Thursday nights. With pop culture as their muse, icons like David Bowie and Harry Potter became their agents of fortune in a bold attempt to relate cultural phenomena to Museum masterpieces. And then, Off the Wall was born. “We wanted the program to be fresh and new,” said Stacey Lizotte, Head of Adult Programmng and Multimedia Services, “It required us to take a step back and really think about how we could offer something to our members and visitors that had not been done before.” Now, every second Thursday of the month, DMA Members and visitors get just that: an unexpected and vibrant way to explore the collection with a pop culture twist. DMA Members were among the first to inaugurate Off the Wall in October with Space Oddity, a groovy event that generated rave reviews. “This was a great date night,” said DMA Member James Riesman. “We really enjoyed the live DJ and happy hour, and coloring our zodiac signs!” November’s Off the Wall, Gogh Your Own Way, saw continued momentum, yet it was December’s Winter Is Coming that stole the show and solidified Off the Wall as a hot after work destination. Droves of loyal Game of Thrones fans eagerly participated in show-related trivia, and everyone greatly enjoyed an ice sculpting demonstration, which made it feel like winter was here. Off the Wall will continue to breathe new life into the collection every second Thursday this spring with themes ranging from Et Tu, Brute? to Wax On, Wax Off, and DMA Members get to experience it all for free! — Julie Henley is the Communications and Marketing Coordinator at the DMA.

UPCOMING OFF THE WALL EVENTS SHOT THROUGH THE HEART | Thursday, February 9, 5:00–9:00 p.m.

ET TU, BRUTE? | Thursday, March 9, 5:00–9:00 p.m. SHAKEN, NOT STIRRED | Thursday, April 13, 5:00–9:00 p.m.

education

E B A WA NN ’ N I T S TAR ’ N I H T E M O S

member profiles

MEMBER TELL ALL

DMA MEMBER

Jessica and Chris Colaw

Becki Herrick

Rudy and Eileen Moras

NUMBER OF YEARS AS

A DMA MEMBER

5 years

Almost 40 years

15 years

FAVORITE EXPERIENCE AT THE DMA

Introducing our children to art and

I plan my weeks around attending the

We especially enjoy participating in work-

creativity, specifically through art classes,

Wednesday Gallery Talks. I have also enjoyed

shops at the DMA where we are able to

from Art Babies to Family Workshops

working on special costumes for contests the

create and learn with guest artists. One of

Museum has held during Late Nights. It was

special note was using silk dyes from plants

especially fun to win second place as a flapper

grown on the UNT campus.

FAVORITE EXHIBITION Nur: Light in Art and Science from the Islamic

one year.

World was a beautiful exhibition that combined our family’s love of both art and the history of mathematics and science. FAVORITE WORK

FAVORITE EXHIBITION

FAVORITE EXHIBITION The recent Spirit and Matter: Masterpieces from

Jackson Pollock: Blind Spots! I attended 11 times

the Keir Collection of Islamic Art ranks among

and used it as a very exciting study with my

our favorite exhibitions. Others include

18 art students, ages 5–13, last May. It was

International Pop, The Mourners: Medieval Tomb

Chris is a military history buff so we always

such a great way to end the school year with

Sculptures from the Court of Burgundy, and Van

try to visit the Winston Churchill room in the

a bang.

Gogh’s Sheaves of Wheat.

FAVORITE WORK

Wendy and Emery Reves Collection. Every Impressionist painting, the African gallery, and I have a deep passion for any works by van Gogh

The Wittgenstein Vitrine

MARCH

GALLERY TALKS Wednesdays, February, 1, 8, 15, 22, 12:15 p.m.

store

GALLERY TALKS Wednesdays, March 1, 8, 15, 22, 29, 12:15 p.m.

ARTS & LETTERS LIVE: DAVE EVANS

ART AND NATURE EXHIBITION TALK

Wednesday, February 1, 7:30 p.m.

Thursday, March 2, 7:00 p.m.

MEDITATION TALK: HOW TO TRANSFORM YOUR LIFE

AUTISM AWARENESS FAMILY CELEBRATION: ROCKIN’ ROBOTS Saturday, March 4, 9:00–11:00 a.m.

Saturday, February 4, 2:00–3:30 p.m.

Saturday, February 4, 8:00 p.m.–midnight

INTERMEDIATE CALLIGRAPHY WORKSHOP with Lyndsay Wright Saturday, March 4, 1:00–4:00 p.m.

atlantis bubble ARTS & LETTERS LIVE: TEXAS BOUND I necklace Monday, February 6, 7:30 p.m.

Saturday, March 4, 7:30 p.m.

DMA MEMBER EVENT SPEAKEASY: SHAKEN STIRRED, STYLED

$40

February 10, 14, or 17, 11:00 a.m.–noon

ARTS & LETTERS LIVE: CHRIS CLEAVE & JENNIFER RYAN

ARTS & LETTERS LIVE: SIMON TOLKIEN & AMOR TOWLES Friday, February 10, 7:30 p.m.

Monday, March 6, 7:30 p.m.

Make a statement

FAMILY WORKSHOP: FANTASTIC BEASTS

DMA CIRCLE OPENING RECEPTION México 1900 –1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde

Saturday, February 11, 1:00–2:30 p.m.

Wednesday, March 8, 6:00–8:00 p.m.

MUSIC AND MASTERPIECES

ARTS & LETTERS LIVE: GEORGE SAUNDERS

Saturday, February 11, 2:00 p.m.

Wednesday, March 8, 7:30 p.m.

ARTS & LETTERS LIVE: CHRIS BOHJALIAN & KATIE KITAMURA

OFF THE WALL: ET TU, BRUTE? Thursday, March 9, 5:00–9:00 p.m.

Wednesday, February 15, 7:30 p.m.

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

DMA MEMBER OPENING CELEBRATION México 1900 –1950 Friday, March 10, 6:00–8:00 p.m.

MEANINGFUL MOMENTS: LUCIE STAHL Tuesday, February 21, 10:00–11:30 a.m.

SPRING BREAK PROGRAMS FOR FAMILIES Tuesday–Friday, March 14–17, 11:00 a.m.–5:00 p.m.

TEEN HOMESCHOOL WORKSHOP: STAINED GLASS

ARTS & LETTERS LIVE: MOHSIN HAMID & SHANTHI SEKARAN

Friday, February 24, 11:00 a.m.–12:30 p.m.

Tuesday, March 14, 7:30 p.m.

DMA MEMBERS-ONLY TOUR

ARTS & LETTERS LIVE: JAMES CRAWFORD

Saturday, February 25, 1:00 p.m.

A vibrant outdoor TEEN WORKSHOP: LARGER THAN LIFEdining

ARTS & LETTERS LIVE: ADAM GIDWITZ Sunday, February 26, 3:00 p.m.

$60 Member price $54

Thursday, March 9, 6:00–9:00 p.m. Friday, March 10, 11:00 a.m.–5:00 p.m. Saturday, March 11, 11:00 a.m.–5:00 p.m.

Thursday, February 16, 6:30–8:00 p.m.

Saturday, February 25, 7:30 p.m.

south pacific long frangipani necklace

DMA MEMBER PREVIEW DAYS México 1900 –1950

TEEN TOUR: CENTRAL ASIAN ART

ARTS & LETTERS LIVE: JESSI KLEIN

$40 Member price $36

DMA MEMBER BOOK TALK The Muralist by B. A. Shapiro Sunday, March 5, 2:00–5:00 p.m.

TODDLER ART: START YOUR ENGINES!

BANCROFT FAMILY CONCERT: Fragments of the Past and Present Saturday, February 25, 3:00 p.m.

atlantis pod necklace

ARTS & LETTERS LIVE: TEXAS BOUND II

OFF THE WALL: Member price SHOT $36 THROUGH THE HEART Thursday, February 9, 5:00–9:00 p.m.

Saturday, February 25, 1:00–3:00 from p.m. featuring cuisine

calendar

FEBRUARY

the

Thursday, March 16, 7:30 p.m.

experience

LATE NIGHT: SPRING BREAK BLOCK PARTY South of France Friday, March 17, 6:00 p.m.–midnight Look for special opportunities for DMA Members! MEANINGFUL MOMENTS: BATIK FROM JAVA Tuesday, March 21, 10:00–11:30 a.m. ARTS & LETTERS LIVE: PAUL WATSON Tuesday, March 21, 7:30 p.m. LATE NIGHT TALK: Fantastic Beasts: Harry Potter and the Medieval Bestiary Friday, March 17, 7:00 p.m. BOSHELL LECTURE: Women of the Ancient World Thursday, March 23, 7:00 p.m.

Farm-fresh selections made from locally grown products

calendar

member profiles

MEMBER TELL ALL APRIL

MEANINGFUL MOMENTS: MECHANICAL MASTERPIECES Tuesday, April 18, 10:00–11:30 a.m.

ARTS & LETTERS LIVE: ERIN AND PHILIP C . STEAD

Tuesday, April 4, 11:30 a.m.

ARTS & LETTERS LIVE: STEPHEN TOBOLOWSKY Tuesday, April 18, 7:30 p.m.

GALLERY TALKS Wednesdays, April 5, 12, 19, 26, 12:15 p.m. BOSHELL LECTURE: The Aztec Templo Mayor: Recent Discoveries in Downtown Mexico City Thursday, April 6, 7:00 p.m. TODDLER ART: IN THE JUNGLE

DALLAS ARCHITECTURE FORUM LECTURE with Marlon Blackwell Wednesday, April 19, 7:00 p.m.

April 7, 11, or 21, 11:00 a.m.–noon

LATE NIGHT: SAVOR THE ARTS Friday, April 21, 6:00 p.m.–midnight

FAMILY WORKSHOP: CONSERVATION STATION Saturday, April 8, 1:00–2:30 p.m.

DMA MEMBERS-ONLY TOUR Saturday, April 22, 1:00 p.m.

ARTS & LETTERS LIVE: CYNTHIA D’APRIX SWEENEY Tuesday, April 11, 7:30 p.m. OFF THE WALL: SHAKEN, NOT STIRRED

ARTS & LETTERS LIVE: TOM VANDERBILT Tuesday, April 25, 7:30 p.m. BRETTELL LECTURE: The Mondrian Brand Thursday, April 27, 7:00 p.m.

creativity, specifically through art classes,

Thursday, April 13, 5:00–9:00 p.m. ARTS & LETTERS LIVE: DAVID SEDARIS DMA MEMBER DMA MEMBER Friday, April 28, 7:30 p.m. DMA MEMBER PREVIEW DAYS Becki HerrickThe Keir Collection of Islamic Ar t GallerRudy and Eileen Moras y ARTS & LETTERS LIVE AT Thursday, April 13, 6:00–9:00 p.m. THE DALLAS BOOK FESTIVAL NUMBER OF YEARS AS14, 11:00 a.m.–5:00 p.m. NUMBER OF YEARS AS Friday, April Saturday, April 29, 1:30 & 3:30 p.m. A DMA MEMBER A DMA MEMBER AUTISM AWARENESS FAMILY CELEBRATION: Almost 40 years 15 years UNDER THE SEA For a full schedule of events, Saturday, April 15, 9:00–11:00 a.m. visit DMA.org. Programs and dates FAVORITE EXPERIENCE AT THE DMA FAVORITE EXPERIENCE AT THE DMA BANCROFT FAMILY CONCERT: are subject to change. Cliburn attending in Concert the I plan my weeksThe around We especially enjoy participating in workSaturday, April 15, 3:00 p.m. Wednesday Gallery Talks. I have also enjoyed shops at the DMA where we are able to

from Art Babies to Family Workshops

working on special costumes for contests the

create and learn with guest artists. One of

Museum has held during Late Nights. It was

special note was using silk dyes from plants

especially fun to win second place as a flapper

grown on the UNT campus.

DMA MEMBER

Jessica and Chris Colaw NUMBER OF YEARS AS A DMA MEMBER

5 years FAVORITE EXPERIENCE AT THE DMA Introducing our children to art and

FAVORITE EXHIBITION Nur: Light in Art and Science from the Islamic

one year.

World was a beautiful exhibition that combined our family’s love of both art and the history of mathematics and science. FAVORITE WORK

FAVORITE EXHIBITION

FAVORITE EXHIBITION The recent Spirit and Matter: Masterpieces from

Jackson Pollock: Blind Spots! I attended 11 times

the Keir Collection of Islamic Art ranks among

and used it as a very exciting study with my

our favorite exhibitions. Others include

18 art students, ages 5–13, last May. It was

International Pop, The Mourners: Medieval Tomb

Chris is a military history buff so we always

such a great way to end the school year with

Sculptures from the Court of Burgundy, and Van

try to visit the Winston Churchill room in the

a bang.

Gogh’s Sheaves of Wheat.

FAVORITE WORK

Wendy and Emery Reves Collection. Every Impressionist painting, the African gallery, and I have a deep passion for any works by van Gogh

The Wittgenstein Vitrine

store atlantis pod necklace $40 Member price $36

atlantis bubble necklace $40 Member price $36

Make a statement

south pacific long frangipani necklace $60 Member price $54

Farm-fresh selections made from locally grown products A vibrant outdoor dining experience featuring cuisine from the South of France

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

GROUP SALES Discounted tickets are available for groups of ten or more. Call 214-922-1222 or e-mail groupsales@DMA.org.

members@DMA.org DMA.org/members 1717 North Harwood St Dallas TX 75201

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

DMA STORE Shop online at shopDMA.org.

DMA CAFE Tuesday–Sunday 11:00 a.m.–4:30 p.m. Thursday 11:00 a.m.–8:00 p.m.

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

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.

MAYER LIBRARY For information, call 214-922-1277 or visit DMA.org/research.

TEACHING RESOURCES For information, call 214-922-1375 or visit DMA.org/resources.

FREE WI-FI ACCESS/ SMARTPHONE TOUR Wi-fi access is available throughout the Museum. Bring your web-enabled device to access our smartphone tours at DMA.mobi.

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