Tag: art museum

The Dallas Museum of Art’s new mission statement

Dear DMA friends and supporters,

Having just celebrated my first anniversary at the Dallas Museum of Art, I am excited about the many successes that we have achieved together, and by how much we continue to learn about the ways to best serve the community. It continues to be a great honor for me to lead this institution and live in this remarkable city, and I want to thank you for your participation in and support of our many exhibitions and programs over the past year.

As we build on these successes and look forward, Museum leadership and staff are carefully examining how to continue the DMA’s achievements in cultivating connections with its existing audiences, and to make the DMA a welcoming place for our entire community. We are also reaffirming our commitment to making the DMA a 21st-century museum in every way.

As an initial step toward these goals, we have developed a renewed mission and vision for the Museum, which will serve as our guide as we create new initiatives and programs and look to the DMA’s future:

The Dallas Museum of Art is a space of wonder and discovery where art comes alive.

The DMA will:

  • Place art and our diverse communities at the center around which all activities radiate.
  • Pursue excellence in collecting and programming, present works of art across cultures and time, and be a driving force in contemporary art.
  • Strengthen our position as a prominent, innovative institution, expanding the meaning and possibilities of learning and creativity.

We are pleased to share this new mission with you, our visitors, supporters, and community. I hope that you find it compelling and will enjoy many visits to the DMA in the coming year as we embark on this new path. I also hope that by sharing in our excitement, you will continue your support of the Museum, and if you are not yet a DMA Member, that you will consider joining.

Agustín Arteaga
The Eugene McDermott Director


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New Fund for Acquiring Art Created by Women at the Nasher

Work by Phyllida Barlow

Work by Phyllida Barlow

Nasher Sculpture Center Announces Gift from The Kaleta A. Doolin Foundation Establishing New Acquisitions Fund for Art Created by Women


Fund will provide initial $750,000 to the Nasher Sculpture Center for purchasing work by women artists; important work by Phyllida Barlow to be first acquisition

DALLAS, Texas (August 10, 2015) – Nasher Sculpture Center announces the formation of a new fund for the acquisition of work by women artists: the Kaleta A. Doolin Acquisitions Fund for Women Artists. Established with the generous seed gift from the foundation named for author, artist, and arts patron Kaleta A. Doolin, the fund will provide an initial $750,000 toward the purchasing of work by women artists, helping substantially grow both the Nasher Sculpture Center’s collection of work by women artists and, with a keen focus on living artists, its contemporary art holdings.

“It is the Nasher Sculpture Center’s great fortune to be granted this generous acquisitions gift, and we could not be more grateful to Ms. Doolin or excited about the possibilities this gift affords,” says Director Jeremy Strick. “To be able to expand and enrich the Collection’s holdings of work made by women artists is of paramount importance, helping round out the permanent collection and highlight the tremendous contributions that women have made, and continue to make, to sculpture.”

The first work to be purchased with the fund will be by the British artist Phyllida Barlow, whose exhibition ‘tryst’ opened at the Nasher in May and runs until August 30, 2015. The acquired work, called untitled:hangingmonument2015, features a large, wrapped, tubular form that hangs horizontally from a tall steel structure.  Held aloft by a black rigging strap, the long, heavy column is rendered weightless. For Barlow, the horizontal form in the piece stems from an experience in Texas in 2003 during an artist residency with University of Texas at Dallas when she and her husband, on a drive through the oil fields, witnessed an enormous, amorphous form being extracted from the ground, dripping with oil and muck. Like the other works featured in ‘tryst,’ Barlow made untitled:hangingmonument2015 specifically for the exhibition at the Nasher.

“To begin with the purchase of a work by Phyllida Barlow—an artist at the height of her career, of great influence to younger generations of artists, and with deep ties to the Nasher—is very meaningful for the museum,” continues Mr. Strick. “We look forward to other such tremendous additions to the Nasher Collection that can now be made thanks to this focused and important fund.”

Works acquired through the Kaleta A. Doolin Acquisitions Fund for Women Artists will augment the Nasher Collection’s important sculptures by women artists, including Magdalena Abakanowicz, Nancy Grossman, Barbara Hepworth, and Beverly Pepper.

To learn more about the Kaleta A. Doolin Acquisitions Fund for Women Artists, and for information on how to make a charitable contribution to it, please contact Martha Hess, Director of Development, at +1 214.242.5153 or mhess@nashersculpturecenter.org.


About Phyllida Barlow

Phyllida Barlow was born in 1944 in Newcastle upon Tyne, England. She lives and works in London. In the late 1960s, Barlow began teaching at the Slade School of Fine Art as Professor of Fine Art. In 2009, she retired from teaching in order to focus on her own work. In 2011 Barlow was selected a Royal Academician.

Barlow’s recent solo exhibitions include, ‘set’, Fruitmarket Gallery, Edinburgh, Scotland; ‘dock’, her Tate Duveen Comission, London (2014), ‘Phyllida Barlow. Fifty Years of Drawing’, Hauser & Wirth London, ‘HOARD’, Norton Museum of Art, West Palm Beach FL; ‘Scree’, Des Moines Art Center, Des Moines IA (2013); ‘… later’, Hauser & Wirth New York NY (2012); ‘Phyllida Barlow: siege’,New Museum, New York NY (2012); ‘BRINK’, Ludwig Forum, Aachen, Germany (2012); ‘Phyllida Barlow: Bad Copies’, Henry Moore Institute, Leeds, England (2012); ‘RIG’, Hauser & Wirth London, Piccadilly (2011); ‘Cast’, Kunstverein Nu¨rnberg, Nuremberg, Germany (2011); ‘STREET’, BAWAG Contemporary, Vienna, Austria (2010); and in 2010, she was in the critically acclaimed two-person show at the Serpentine Gallery, London, England with Nairy Baghramian. Recent group shows include ‘Carnegie International 2013′, Carnegie Museum of Art, Pittsburgh PA (2013); La Biennale di Venezia,’55th International Art Exhibition: The Encyclopedic Palace’, Venice, Italy (2013); ‘The Best of Times, The Worst of Times – Rebirth and Apocalypse in Contemporary Art’, The First International Kiev Biennale, Kiev, Ukraine (2012); ‘Sculptural Acts’, Haus der Kunst, Munich, Germany (2011); ‘Displaced Fractures’, Migros Museum fu¨r Gegenwartskunst, Zurich, Switzerland (2010).

In 2012, Barlow received the Aachen Art Prize and ‘Award for the Most Significant Contribution to the Development of Contemporary Art’ at The First International Kiev Biennale, Kiev, Ukraine. Barlow also sits on the Nasher Prize jury.

Permanent link to this article: http://artgroupsdfw.com/visual-arts-organizations/art-galleries/new-fund-for-acquiring-art-created-by-women-at-the-nasher/

Renovations at the Amon Carter Museum of American Art


Amon Carter Museum of American Art to Renovate Building Facade; Will Remain Open During Construction

For a related article see Amon Carter Museum renovations will begin Feb. 2 in the Fort Worth Star Telegram


Press release: December 2, 2014

FORT WORTH, Texas—Amon Carter Museum of American Art Director Andrew J. Walker announced today that the museum is renovating parts of the building beginning February 2, 2015. The museum will remain open during the process, though some galleries will be inaccessible. School tours will continue, but no public programs or member programs are planned within the facility. The museum is also closing at 5 p.m. on Thursdays throughout the project, which is expected to last four months. All galleries are scheduled to reopen in June 2015.

The front glass facade will receive new glass panels designed to maximize control of the amount of light that enters the museum regardless of the time of day or season; the use of shades will no longer be necessary during visiting hours. This will aid in art conservation, as well as help keep the gallery spaces temperate for visitors. Renovated air handlers in the main gallery and new air handlers in the upstairs galleries will also contribute to a more controlled environment. Finally, the revolving front door will be replaced with a new entryway so that all visitors, especially those with strollers and wheelchairs, can easily enter the museum. During construction, museum visitors can enter and exit the building from Lancaster Avenue.

“Our goal is to create a superior environment for art and visitors,” Walker says. “With this renovation, we are also going ‘back to our roots’ by recreating Philip Johnson’s original design of the museum’s front facade. A renovation in the 1990s changed his design of the main entrance by adding more glass panes and a revolving door. With this update, we are returning to his original concept with fewer glass panes while incorporating better glass technology to protect the collection from ultraviolet light. This is better for the art, better for our visitors and a return to the architect’s original intent.”

The following galleries will be closed from February 2 through June 2015: the front galleries on both the first floor and the mezzanine level and the special exhibition galleries on the second floor. The museum’s front entrance and all outdoor grounds will also be closed; this includes the parking lot, plaza, portico and the area near the Henry Moore sculpture.

“The safety of our collection and visitors is of utmost priority, and both will be protected by the partial closure of the building and grounds,” Walker says. “Construction is never without some inconveniences, but we are working to minimize them. The permanent collection will remain on view during this time, and most of the public’s favorite paintings and sculptures will remain accessible.”

The museum’s collection will be hung throughout the open galleries. There will be no special exhibition in the spring, though the museum is presenting four permanent collection installations of artworks not typically on view. These include: Audubon’s Beasts (January 15–August 2), American Still Life (February 14–August 2), Like Father Like Son: Edward and Brett Weston (February 21–August 23) and Remington and Russell (February 28–June 2). Also on view is Lone Star Portraits (through May 17).

“In tandem with this construction, we are working to change the function of the main gallery from solely a place to exhibit art into one that is also a community gathering place,” Walker says. “These are the first steps in transforming our entire footprint into an interactive space for all audiences. We will ask for the community’s input on this, so stay tuned for more details.”



Permanent link to this article: http://artgroupsdfw.com/visual-arts-organizations/art-institutions/renovations-at-the-amon-carter-museum-of-american-art/