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Dallas Museum of Art
Dallas, TX
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Dallas Museum of Art
1717 N. Harwood St.
Dallas, TX 75201
(214) 922-1200
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www.dallasmuseumofart.org
Holiday Thorne Rooms
Nov 22, 2019–Jan 7, 2020

The beloved decorating tradition is back, with several of the Thorne Rooms once again getting their seasonal trimmings. Among the most elaborate is the English Drawing Room of the Victorian Period, the only room with a Christmas tree. Now a ubiquitous feature of the season, the Christmas tree, or tannenbaum, was only brought to England from Germany in 1840 with the marriage of Prince Albert to Queen Victoria. The Thorne Room tree and accoutrements are based on a famous engraving of the royal couple and their children surrounding a trimmed and toy-bedecked tree, an image that would forever popularize this holiday fixture. Other ornamented rooms include:

  • The English Great Hall of the Tudor period with a wassailing bowl, yule log, and an essential part of the costuming for that period’s singing and dancing revelers—a mummer’s mask
  • The Virginia Entrance Hall with mistletoe, wreath, and garland
  • The French Provincial Bedroom with shoes, or sabots, lined up before the fireplace, a crèche, and puzzle
  • The modern-era California Hallway with an Otto Natzler mid-century menorah and box with a dreidel
  • The New Orleans, New Mexico, and the Pennsylvania Dutch (German) rooms filled with regional treats of the season
  • The 1930s French Library with a tiny taste of Art Deco holiday glamour

The traditional Chinese interior filled with shadow puppets and instruments that would have been used to celebrate the Chinese New Year as well as other festive occasions

Not Visible to the Naked Eye: Inside a Senufo Helmet Mask
November 23, 2019 to March 21, 2021 | Conservation Gallery

The DMA’s Conservation and Arts of Africa departments, in an exciting and cutting-edge collaboration with UT Southwestern Medical Center, will present CT scans of a Senufo helmet mask from the Museum’s African art collection. This kind of mask is worn like a helmet by a medium at initiations, funerals, harvest celebrations and secret events conducted by the powerful male-only Komo society, which has traditionally maintained social and spiritual harmony in Senufo villages in Côte d’Ivoire, Mali, and Burkina Faso. Visible attachments on the mask include a female figure, cowrie shells, and imported glassware. The CT-scans reveal unexpected materials beneath the surface and objects contained in the attached animal horns that empower the mask.

Dr. Matthew A. Lewis and Dr. Todd Soesbe, faculty members of the Department of Radiology at the Medical School of The University of Texas Southwestern Medical Center, assisted with this exhibition.

Focus Installation
Admission is FREE

speechless: different by design
November 10, 2019 to March 22, 2020
Chilton I and Chilton II Galleries

Explore the many ways in which we connect to the world around us through our senses in speechless: different by design, an exhibition of multisensory, interactive, and immersive experiences for visitors of all backgrounds and abilities. Created in collaboration with designers, scholars, and scientists, speechless presents unique opportunities for discovering new perspectives through communications beyond speech and words.

Co-organized by the Dallas Museum of Art and the High Museum of Art, speechless: different by design will debut site-specific installations and new commissions by six leading and emerging international designers and design teams—Ini Archibong, Matt Checkowski, Misha Kahn, Steven and William Ladd, Laurie Haycock Makela, and Yuri Suzuki. Their new works will create participatory environments in which senses are merged or substituted for one another—for instance, sound will become visible and language will become tactile—so that visitors can engage with their surroundings in new and unconventional ways.

speechless: different by design requires a $16 ticket with discounts for seniors, students, and military. DMA Members and children 11 and under are free.

Got questions? View the FAQ page for this exhibition.

Sandra Cinto: Landscape of a Lifetime
November 15, 2019 to July 5, 2020
Concourse

Brazilian artist Sandra Cinto will create Landscape of a Lifetime, a site-specific commissioned mural in the Museum’s first-level Concourse. Cinto will transform the Concourse hall with a 153-foot mural covering the walls and ceiling in 24 shades of blue, shifting from dark to light to give the impression of the transition from night to day. The walls will be completely decorated with intricate pen drawings of celestial elements such as stars and clouds. Low-level audio of sounds recorded by the artist (running water, rustling leaves, birds, etc.) will further enhance the artist’s exploration of life and natural cycles.

Sandra Cinto was born in Santo André, Brazil and studied art at the Faculdades Integradas Teresa D’Ávila. She currently lives and works in São Paulo. In addition to solo museum exhibitions in Brazil and Spain, she has been commissioned to create murals for institutions in Santo André, São Bernardo do Campo, São Paulo, Seattle, and Washington D.C.

Focus Installation
Admission is FREE.

speechless: different by design
November 10, 2019 to March 22, 2020
Chilton I and Chilton II Galleries

Explore the many ways in which we connect to the world around us through our senses in speechless: different by design, an exhibition of multisensory, interactive, and immersive experiences for visitors of all backgrounds and abilities. Created in collaboration with designers, scholars, and scientists, speechless presents unique opportunities for discovering new perspectives through communications beyond speech and words.

Co-organized by the Dallas Museum of Art and the High Museum of Art, speechless: different by design will debut site-specific installations and new commissions by six leading and emerging international designers and design teams—Ini Archibong, Matt Checkowski, Misha Kahn, Steven and William Ladd, Laurie Haycock Makela, and Yuri Suzuki. Their new works will create participatory environments in which senses are merged or substituted for one another—for instance, sound will become visible and language will become tactile—so that visitors can engage with their surroundings in new and unconventional ways.

speechless: different by design requires a $16 ticket with discounts for seniors, students, and military. DMA Members and children 11 and under are free.

Concentrations 62: Wanda Koop, Dreamline
October 20, 2019 to February 2, 2020 | Focus II Gallery
Focus Installation
Admission is FREE.

Wanda Koop is an established Canadian painter whose practice explores how modern urban society and the natural environment intersect. Through paintings that vary widely in scale, Koop creates work that straddles abstraction and figuration, the real and the imagined, the personal and the political. The results are nearly surreal landscapes with blurred swaths of color and deliberate drips of paint that invite viewers to closely investigate and interpret them. For Concentrations 62, Koop will debut eight new works in her Dreamline series, accompanied by more than 20 preparatory paintings from the past two decades. Wanda Koop, Dreamline is part of the Museum’s Concentrations series of project-based exhibitions, presenting work by artists in their first US solo museum exhibition.

Koop was born in Vancouver, British Columbia, and has lived in Winnipeg, Manitoba, where she presently works, since childhood. She studied at the School of Art, the University of Manitoba and has honorary doctorates from Emily Carr University of Art and Design in Vancouver, the University of Winnipeg, and the University of Manitoba. In 2006 she was appointed a Member of the Order Of Canada.

Koop was born in Vancouver, British Columbia, and has lived in Winnipeg, Manitoba, where she presently works, since childhood. She studied at the School of Art, the University of Manitoba and has honorary doctorates from Emily Carr University of Art and Design in Vancouver, the University of Winnipeg, and the University of Manitoba. In 2006 she was appointed a Member of the Order Of Canada.

Focus On: Alex Katz
September 15, 2019 - March 22, 2020
Hoffman Galleries

Focus Installation
Admission is FREE.

A focused installation of works by the 91-year-old American painter Alex Katz, one of the most recognized and widely exhibited artists of his generation, and presented in celebration of his appearance in Dallas as the honored artist at the 2019 TWO x TWO for AIDS and Art fundraiser gala in October. This unique presentation brings together a number of themes that characterize Katz’s work: portraits, landscapes, cut-outs, and party scenes. The exhibition will include a painting that is planned to be acquired by the Museum and four from local Dallas collections.

Focus On: Ragnar Kjartansson
September 15, 2019 to March 22, 2020
Hoffman Galleries

Focus Installation
Admission is FREE.

Experience the emotional power of two works created by Icelandic artist Ragnar Kjartansson. The Visitors is an immersive video installation that features nine screens, depicting eight individual musicians singing the same lyric in separate rooms of the nearly 200-year-old Rokeby Farm House in Hudson Valley, New York. With lyrics taken from the poem Feminine Ways, written by Ásdís Sif Gunnarsdóttir, this work is marked by autobiography and duration, as are the 415 postcards that line the walls of the preceding gallery. In these cards, entitled Postcards to Marguerite and sent over the course of 14 months in the artist’s life, Kjartansson shares remarkable and everyday events through watercolor, drawing, and text.

Wearable Raffia from Africa
August 31, 2019 - July 12, 2020
Level 3

Focus Installation
Admission is FREE.

Drawn mainly from the Museum’s extensive collection of African art, this exhibition showcases garments, accessories, and textiles made from the woven fibers of raffia palm leaves from West and Central Africa and the island of Madagascar. Raffia was once one of the most common textile fibers on the continent, before the introduction of imported cotton fabric. Exploring the ingenious use of this vital material, Wearable Raffia from Africa highlights 15 works of art from several groups across four African countries, including the Bamileke (Cameroon), Dida (Côte d’Ivoire), Kuba, Suku, and Teke (Democratic Republic of the Congo), and the Merina (Madagascar).

Violence and Defiance
Through March 8, 2020
Level 2

Focus Installation
Admission is FREE.

With their avant-garde style and rejection of artistic traditions, a new generation of rebel-artists known as the Expressionists came to prominence during the early 20th century. This time of empires and colonies, air raids and allied forces, nationalism and revolution was particularly tumultuous in Germany and neighboring Austria—countries closely connected during the First World War (1914–18) and the rise of the Nazi Party (1920–45).

Labeled as “degenerates,” many of the Expressionists were drafted or otherwise affected by war. To express their personal reactions to the atrocities they experienced, they turned to boldly simplified line work, distorted forms, or clashing colors. Above all, they heralded printmaking—a quick, inexpensive medium rife with creative potential—as the premier form of artistic rebellion.

From lithographic posters to book illustration, this exhibition encapsulates the violence and defiance of European modernism through works on paper from the Dallas Museum of Art’s collection as well as works from Dr. Alessandra Comini’s generous gift to the Museum in 2018 and 2019.

C3: Beyond Binaries
Through December 29, 2019
Center for Creative Connections

This installation of DMA works examines the ways the subjects, symbolism, and production of art communicates ideas about gender. Gender refers to roles and traits commonly associated with men or women. Some works move beyond the binary of masculine and feminine. Others present divergent views and beliefs about gender. These social expectations are informed by the prevailing culture. As you explore the gallery, consider how gender is understood across various communities, time periods, and individuals.

Admission is FREE.

Sheila Hicks: Secret Structures, Looming Presence
June 30, 2019 to January 12, 2020 | Level 4

Sheila Hicks, Zihzabal, 2018, pigments, synthetic fibers, cotton, linen, Dallas Museum of Art, Dallas Art Fair Foundation Acquisition Fund, Photo: Markus Wörgötter, © Sheila Hicks
Culture: Chancay, Representation of a tree (element for figural scene), 1000–1460, camelid fiber and reed, Dallas Museum of Art, the Nora and John Wise Collection, bequest of Nora Wise, 1989.W.2456
Sheila Hicks, Hieroglyph Wuppertal, 1966, natural linen, Collection of Deedie Potter Rose, Photo: Michael Brzezinski, © Sheila Hicks
Peru, Bag with fringe, cotton and camelid fiber, Dallas Museum of Art, the Nora and John Wise Collection, bequest of Nora Wise, 1989.W.2416
Summary

Fiber arts by artist, designer, and weaver Sheila Hicks (b. 1934) will be exhibited in the DMA’s Atrium Overlook and in the Arts of the Americas Andean gallery in a special exhibition illuminating how the contemporary artist’s practice has been inspired by the weaving traditions of indigenous artisans from Latin America. Sheila Hicks: Secret Structures, Looming Presence pairs works from the Museum’s collection of ancient Andean art with a selection of Hicks’ loom-woven, wrapped, twisted, and knotted fiberworks, offering a fresh examination of textile traditions through time.

Born in Nebraska and based in Paris since 1964, over the course of her six-decade career Hicks has lived and worked extensively in Mexico, Peru, Chile, and other countries in South America and around the world. Hicks became interested in ancient Andean art as a student at the Yale University School of Art and Architecture, where she researched ancient Andean textiles for her master’s thesis.

Secret Structures, Looming Presence is a collaboration between the Arts of the Americas and Contemporary Art departments, led by Ellen and Harry S. Parker III Assistant Curator Michelle Rich and Hoffman Family Senior Curator Anna Katherine Brodbeck, respectively.

Focus Installation
Admission is FREE.

Caravaggio: Martha and Mary Magdalene
June 23, 2019 to September 22, 2019
Focus II Gallery

Michelangelo Merisi da Caravaggio (1571–1610) was one of the most influential figures in the history of European art. Active in Italy between 1592 and 1610, he revolutionized painting and laid the foundation for 17th-century Baroque painting through his theatrical compositions and gritty realism observed from life.

Martha and Mary Magdalene (c. 1598), on loan from the Detroit Institute of Arts, is a masterpiece from Caravaggio’s early career in Rome. The painting depicts Mary Magdalene, considered by the Catholic Church at the time to be a prostitute, experiencing a spiritual awakening as her sister Martha counts on her fingers the reasons she should convert. Caravaggio conveys the moment of Mary’s conversion—a challenging subject—through his treatment of light, which casts a divine glow on the reformed sinner.

At the heart of Caravaggio’s groundbreaking style are his reduced color schemes, somber backgrounds, and dramatic lighting effects produced by sharp light and dark contrasts (chiaroscuro). The artist’s creation of a shallow, stage-like setting pushes the figures up close to the viewer, as though the event is unfolding in our own space and time.

Fewer than 10 paintings by Caravaggio are housed in the US, in the collections of six museums, making this a rare opportunity to see an extraordinary work by one of the most celebrated Old Master painters.

Focus Installation
Admission is FREE

The Fifty-Three Stations of the Tōkaidō
May 21, 2019 to November 10, 2019
Mezzanine 2

Japanese artist Utagawa Hiroshige (1797-1858) was one of the great masters of the Japanese landscape woodblock print. In 1833, he produced a suite of prints that followed the imperial road called the Tōkaidō, which ran from Edo (modern Tokyo) to the emperor’s palace in Kyoto. The road was originally developed for the ruling shogun, based in Edo, to bring offerings to the emperor. The government set up 53 stations along the Tōkaidō as stopping points for travelers. By Hiroshige’s time, the road was a popular scenic route, marked by many temples, shrines, shops, and inns, which he made famous through his prints.

The Fifty-Three Stations of the Tōkaidō (1834), in the DMA’s collection, is comprised of 55 prints, one of each of the stations plus two for the beginning and end points. The scenes are a blend of the grandeur of a noble feudal lord's (daimyō) lifestyle, realistic images of daily life and ordinary people like merchants or workers, and a refined depiction of nature, which was very important to the Japanese. Hiroshige was familiar with European painting and often introduced perspective into his prints, although the ultimate effect of his scenes is the distinct linear character of his designs. Inexpensive in their day, these prints served as travel souvenirs or as enticements to would-be travelers.

The complete series—once owned by architect Frank Lloyd Wright and gifted to the Museum by Mr. and Mrs. Stanley Marcus in 1984—will be on view at the DMA for the first time in more than 30 years.

Eyes On Erika Harrsch
Yhrough November 17, 2019
Hamilton Building - Level 4
Included in general admission

Eyes On: Erika Harrsch features a single contemporary installation titled Under the Same Sky… We Dream. Harrsch (who is based in New York and was born and raised in Mexico City) first exhibited Under the Same Sky… We Dream in El Paso in 2017 just as regulations became more stringent for those seeking asylum in the United States. The installation also was featured at B3: The Biennial of the Moving Image in Frankfurt, Germany, that same year.

Harrsch’s installation offers a place of reflection that acknowledges the children who have crossed the border between Mexico and the U.S. The multimedia exhibition uses photography, animation, visual language, and musical performance to capture current cultural, political, and environmental issues faced by children of refugees and undocumented immigrants.

The installation is presented in a darkened space that is separated by a hanging screen; the silhouette of the screen is cut to resemble the borderline between the U.S. and Mexico with a video of clouds passing by. Visitors are prompted to enter the space and pass underneath the soft hanging screen to the other side of the room where there are mattresses and Mylar blankets, similar to those used by Immigration and Customs Enforcement (ICE) in detention centers that house undocumented minors who have been detained trying to illegally enter the U.S. The words of the as-yet-unpassed DREAM Act envelop the room sung by vocalist Magos Herrera. Visitors are invited to recline on a mattress and use provided lamps to read the DREAM Book, which includes the words from the song playing in the room.

Eyes On: Erika Harrsch is organized by the Denver Art Museum. It is presented with the generous support of Vicki and Kent Logan, the donors to the Annual Fund Leadership Campaign, and the citizens who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine, CBS4, Comcast Spotlight, and The Denver Post.

America Will Be!: Surveying the Contemporary Landscape
April 6 - October 6, 2019
Chilton I Gallery

Drawing on works from the DMA’s permanent collection, this exhibition presents the ways in which contemporary artists engage with landscapes, broadly defined, exploring how our natural and built environments intersect with our representations of ourselves and our communities. The landscape has been both a traditional art historical genre and a means of mythologizing the origins of American history and culture as a colonial product, creating an image of unclaimed terrain that erased the people who already inhabited it.

“America will be!” is the rousing closing line of the 1935 poem “Let America Be America Again,” in which Langston Hughes argues for a vision of America—and for what it is to be American—that includes the multiplicity of experiences at both the margins and the center, regardless of race, socioeconomic status, or origin. This exhibition explores how contemporary “landscapes” might better reflect the full diversity of the peoples who inhabit North and South America.

The Keir Collection of Islamic Art Gallery
Through April 28, 2020
Focus Gallery

The Keir Collection of Islamic Art Gallery is the largest public presentation in the history of one of the world's most important private collections of Islamic Art. The gallery will highlight particular strengths within the collection, which encompasses one of the most important holdings of luster pottery and rock crystals in the world including the celebrated rock crystal ewer, one of only seven in the world of its caliber and the only one of its type in the United States. The gallery space will display a series of rare manuscripts and painted miniatures of exquisite beauty, including a 16th-century Indian Khamsa of Nizami manuscript, and pages from the 1330 Shahnama known as “The Demotte Shahnama.”

The Keir Collection came to the DMA on a long-term loan agreement with the trustees of the Keir Collection that was finalized in 2014, transforming the Museum into the third largest repository of Islamic art in the United States.

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