Dallas Museum of Art Unveils Modern and Contemporary Masterworks From Three Collections Gifted to the Museum
Two-Part Exhibition Starting November 2006 Will Feature 200 Works From Local Dallas Collectors Fast Forward: Contemporary Collections for the Dallas Museum of Art
Dallas, TX, May 16, 2006—The Dallas Museum of Art will present a special two-part exhibition of 200 works from the modern and contemporary holdings of the Hoffman, Rachofsky and Rose families, who together gifted their private collections and future acquisitions to the Museum in 2005. Fast Forward: Contemporary Collections for the Dallas Museum of Art offers a preview of the Museum’s future modern and contemporary holdings and will be the first opportunity for the public to view these exceptional, once-private collections in a comprehensive manner. This landmark exhibition will be enhanced by additional promised gifts from Gayle and Paul Stoffel and other local patrons, as well as by works from the Museum’s collections.
Organized by guest curator Maria de Corral, Fast Forward will survey the vast wealth of ideas and forms that characterize the art of our time, and will include Abstract Expressionist, Minimalist, Pop, Conceptual, and Post-Modern works. This monumental exhibition will feature both established and emerging artists, whose work ranges from paintings and sculptures, to installations, video, sound, and new media. The 200 paintings on view were culled from a body of over 1,500 objects by approximately 500 different artists—including more than 900 works from the three collections and other private collections, and 650 works from the Dallas Museum of Art’s permanent collection. Comprehensive in scope, Fast Forward will be presented in two parts, with the first chapter opening on November 19, 2006 and remaining on view as the second is unveiled on February 11, 2007.
“Fast Forward is a virtual trip to the future, revealing what the Dallas Museum of Art’s permanent collection will look like years from now. It illustrates the tremendous resource that our local collectors, among the most discerning anywhere, have built for the city of Dallas and the Museum,” said John R. Lane, The Eugene McDermott Director of the Dallas Museum of Art. “Through this extraordinary gift, the Dallas Museum of Art has become one of the few major encyclopedic art museums in the world with a truly significant collection of modern and contemporary art.”
Opening November 19, 2006, and on view through April 8, 2007, the first part of Fast Forward will be presented in the Museum’s distinctive Barrel Vault, Quadrant Galleries, and Sculpture Garden. Organized thematically, the first chapter of the exhibition will present Abstract Expressionist paintings by Willem de Kooning, Franz Kline, Jackson Pollock, and Mark Rothko, among others; masterpieces of the Italian Arte Povera movement, including works by Mario Merz and Giulio Paolini; and Minimalist sculpture and paintings by such artists as Donald Judd and Ellsworth Kelly.
Among the iconic and rarely displayed works to be featured are:
Lucio Fontana’s Concetto Spaziale, La Fine di Dio (1964), a work from the Rachofsky collection that has never been shown at the Museum before. The work belongs to a series of paintings that Fontana produced during the early 1960s and depicts a brilliant yellow “egg” that has been punctured multiple times in the artist’s signature effort to deconstruct and transcend the surface of canvas. The Rachofsky Collection, noteworthy for its rich assembly of Italian postwar art, will allow the Museum to become a center for the viewing and study of this often-overlooked yet significant period of art history that is just beginning to be explored on a deeper level in the United States.
Michael Heizer’s Untitled #2 (1975), an unusual work marking the artist’s transition from small-scale painting to larger-scale sculpture and earthworks. The work, which can be classified as both painting and sculpture for its large size and irregular form, will be exhibited alongside other Minimalist-inspired works from the Rose collection.
Mark Rothko’s Untitled (1961), a stunning masterpiece in orange and red from the Hoffman collection that has never before been presented at the Museum. The large scale and saturated colors of Rothko’s work were intended to envelop the viewer and encourage introspection.
The second part of Fast Forward, which opens February 11, 2007 and will be on view through May 20, 2007 in the Museum’s Chilton Galleries, will explore such movements as Pop Art, Conceptual Art and Post-Modernism, and will provide a broad survey of the work of younger artists grouped by stylistic affinities. This section will include large-scale installations and sculptures by artists such as Matthew Barney and Tom Friedman, and media, video and sound works by Eija-Liisa Ahtila, Cardiff & Miller, and Bruce Nauman, among others. This chapter will also feature distinct monographic presentations of individual artists such as Janine Antoni, Jasper Johns, and Thomas Struth.
Among the iconic and rarely displayed works to be featured are:
Bruce Nauman’s Shadow Puppet Spinning Head (1990), an installation that was jointly acquired by the Rachofskys and the Dallas Museum of Art that has not been previously presented at the Museum. The installation was created during an important period in Nauman’s career when he was fully exploiting the use of video and sound to expand the idea of sculpture, and is indicative of Nauman’s more existentialist work.
Gerhard Richter’s Stadtbild Mü (1968), a painting jointly acquired by the Hoffmans, the Rachofskys, and the Museum that is based on an aerial photograph of Munich’s city center. With its rough application of black and white paint, the work is a powerful artistic response to the Second World War, a theme that continues to pervade the artist’s oeuvre. This painting, along with the others given by the collectors, adds depth to the Museum’s already exceptional collection of Richter works, which includes over 120 prints and limited-edition objects from 1965–2005. Combined, the Museum’s and patrons’ holdings encompass nearly 150 of Richter’s enigmatic works and distinguish Dallas as one of the foremost centers for viewing and studying Richter’s art in the world.
The Gift to Dallas
In February 2005, the Dallas Museum of Art announced the unprecedented gift of modern and contemporary collections from Marguerite and Robert Hoffman, Cindy and Howard Rachofsky, and Deedie and Rusty Rose. The idea behind the joint gift came from the Hoffmans, who at the time co-chaired the Centennial Campaign, which was launched in 2003–04 to ensure the Dallas Museum of Art’s continuing stability and growth. To jumpstart the campaign, the Hoffmans issued a bold challenge: If the Museum reached its goal for the first phase of the campaign, they would bequeath to the Dallas Museum of Art their art collection and an endowment to care for the collection as well as make a generous gift to the campaign. The Rachofskys quickly joined and pledged their Richard Meier-designed House, an operating endowment to allow the House to be used for public purposes, and their extraordinary collection, to which they added outright gifts of artworks and campaign funds. The Roses followed by committing their collection, outright gifts of a number of artworks, and a major contribution of funds to the campaign.
The joint collection gift is believed to be the first of its kind for museums in the United States and marks an important example of cultural leadership joining together to vest the city with their distinguished collections. Thanks to the enormous generosity of the Hoffmans, Rachofskys, and Roses, as well as other individual and foundation sources, the Dallas Museum of Art’s Centennial Campaign has raised $133.5 million of its $185 million goal to date.
At the time of the announcement of their gift, Marguerite Hoffman, chairman of the DMA Board of Trustees, said: “The Dallas collecting community is exceptionally tight-knit. We have looked for ways to collaborate with each other for the benefit of the city, the Museum, and the people who live in our hometown and visit its cultural institutions from afar. We also anticipate that other private collections of modern and contemporary art in Dallas will ultimately be given to the Museum, and we will continue to work together to build complementary strengths.”
About the Collections
The Marguerite and Robert Hoffman Collection includes significant concentrations of work by Joseph Beuys, Joseph Cornell, Marcel Duchamp, Ellsworth Kelly, Willem de Kooning, Jasper Johns, Gerhard Richter, Mark Rothko, and Cy Twombly. Other major postwar artists and younger contemporary artists such as Lucian Freud, Wolfgang Laib, Susan Rothenberg and Bill Viola are also represented in the collection.
The Cindy and Howard Rachofsky Collection is distinguished by its concentrations of Arte Povera and Minimalist art and includes leading-edge contemporary art with works by Tom Friedman, Robert Gober, Félix González-Torres, Mona Hatoum, Jim Hodges, Donald Judd, Bruce Nauman, Sigmar Polke, Gerhard Richter, and Kiki Smith, as well as numerous works by emerging and younger artists. Completed in 1996, The Rachofsky House was designed by Richard Meier to showcase this extensive art collection.
The Deedie and Rusty Rose Collection encompasses the work of contemporary artists, with a strong emphasis on sculpture, modern furniture, and handmade objects. Among artists represented are Sol LeWitt, Ana Mendieta, Bruce Nauman, Sigmar Polke, Robert Ryman, Richard Tuttle, and Franz West, as well as emerging artists primarily working in sculpture.
Exhibition Organization and Catalogue
The exhibition was organized by internationally renowned curator Maria de Corral, who was a co-commissioner of the 2005 Biennale di Venezia and the former director of the Reina Sofía museum of modern and contemporary art in Madrid. Accompanying the exhibition will be an illustrated catalogue, which will include an introduction by Dr. Lane, in-depth interviews with the collectors, and an overview by Ms. de Corral, and essays addressing the distinctive strengths of the combined collections. Mark Rosenthal, Adjunct Curator of Contemporary Art at the Norton Museum of Art, will discuss Abstract Expressionism and related works. Dr. Francis Colpitt, the Deedie Potter Rose Chair of Art History at Texas Christian University, will address Minimalism, Post-Minimalism and Conceptual Art; consultant and writer Allan Schwartzman will write on postwar Italian Art, particularly that of Arte Povera, and Mr. Charles Wylie, The Lupe Murchison Curator of Contemporary Art at the Dallas Museum of Art, will write on German art, as well as sculpture, installation, and new media. Produced in association with Yale University Press, the catalogue will be approximately 288 pages with 175 color illustrations.
About the Dallas Museum of Art
The Dallas Museum of Art, established in 1903, has an encyclopedic collection of more than 23,000 works spanning 5,000 years of history and representing all media with renowned strengths in the arts of the ancient Americas, Africa, Indonesia, and South Asia; European and American painting, sculpture, and decorative arts; and American and international contemporary art.
The Dallas Museum of Art is the anchor of the Dallas Arts District and, in all its vitality, serves as a cultural magnet for the city with diverse programming ranging from exhibitions and lectures to concerts, literary readings, and dramatic and dance presentations. The Museum serves more than one-half million visitors a year and offers more than 3,500 education and public programs annually designed to engage people of all ages with the power and excitement of art.
The Dallas Museum of Art is supported in part by the generosity of Museum members and donors and by the citizens of Dallas through the City of Dallas/Office of Cultural Affairs and the Texas Commission on the Arts.
Recent national traveling exhibitions organized by the DMA include Sigmar Polke: Recent Paintings and Drawings, which was presented at the Tate Modern, London; Thomas Struth, which traveled to the Museum of Contemporary Art, Los Angeles, The Metropolitan Museum of Art, New York, and the Museum of Contemporary Art, Chicago; Anne Vallayer-Coster: Painter to the Court of Marie-Antoinette, which premiered at the National Gallery, Washington, D.C., before it was presented in Dallas and at The Frick Collection, New York; and Henry Moore: Sculpting the 20th Century, which was presented at the Fine Arts Museums of San Francisco and the National Gallery of Art, Washington, D.C.