Jim Coddington, Chief Conservator at the Museum of Modern Art in New York, and Mark Leonard, Chief Conservator at the Dallas Museum of Art, discuss the field of paintings conservation. They will take a special look at the painting materials and techniques used by Jackson Pollock as well as the preservation challenges his works present.
November 20, 2015 Horchow Auditorium
Image: Jim Coddington at work on Jackson Pollock’s One: Number 31, 1950 in the Conservation Studio at MoMA
Mary Beard, one of the world's foremost classicists, presents a revolutionary history of the Roman Empire. Rome was a sprawling imperial city of more than a million residents and a seat of power for one of the largest empires in history. Emerging from what was once an insignificant village in central Italy, the city transformed itself through imperial rule. In response to terrorism and revolution, this powerful city invented new ideas of citizenship and nationality. Beard separates fact from fiction, myth from historical record, bringing forth a grand picture of Roman history.
Michael Fried, art critic, joins Gavin Delahunty, The Hoffman Family Senior Curator of Contemporary Art and curator of Jackson Pollock: Blind Spots, for a conversation about the significance of Pollock's black paintings within his practice. The black paintings, created between 1951 and 1953, showcase Pollock's broader ambitions as an artist and were a radical departure from his previous work.
Gabriel Ritter, The DMA’s Nancy and Tim Hanley Assistant Curator of Contemporary Art, leads a conversation focused on representations of the self via digital technology and the Internet with artists Ed Atkins and Jacolby Satterwhite, both of whom are featured in the exhibition Concentrations 59: Mirror Stage—Visualizing the Self After the Internet. Ceci Moss, Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco, joins the discussion as an expert on art and the Internet.
Gabriel Ritter, The DMA's Nancy and Tim Hanley Assistant Curator of Contemporary Art, leads a conversation with artists featured in International Pop - including Eduardo Costa, Jann Haworth, and Ushio Shinohara - about the multiple narratives of Pop art and the artists' contributions to the movement.
Dr. Sabiha Al Khemir, Senior Advisor for Islamic Art and Professor of Arts and Humanities at the University of Texas at Dallas, introduces the exhibition Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art. Dr. Al Khemir discusses the vision behind the debut of the first North American exhibition from the Keir Collection, on loan to the DMA for fifteen years. The lecture uses examples from the Keir Collection to introduce a view of the nature of Islamic art in general, offering insights related to the mentality of the culture that produced them. Dr.
DC Comics introduced Wonder Woman in 1941, created by the American psychologist and writer William Moulton Marston. Fighting for justice, peace, and gender equality, Wonder Woman became widely considered a feminist icon. Join Dr. Matthew Brown, Assistant Professor of Philosophy and History of Ideas at the University of Texas at Dallas and organizer of the Comics and Popular Arts Conference, to explore the creation and history of the beloved superheroine.
The philosopher Ludwig Wittgenstein was only one member of an immensely gifted and larger-than-life family that rose to prominence in the Austro-Hungarian Empire before the First World War. His family members were patrons of Gustav Klimt and Carl Otto Czeschka, whose silver vitrine was the most extravagant and opulent object that the Wiener Werkstätte ever made.
Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga exhibition co-curators Gabriel Ritter and Koichi Kawasaki, together with Joan Kee, Associate Professor of History of Art at the University of Michigan, and James Rondeau, Curator and Chair of Contemporary Art at the Art Institute of Chicago, will discuss various topics related to the art and life of Kazuo Shiraga and Sadamasa Motonaga with the goal of situating their individual practices within a global art historical context.
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.