How can thinking like a designer turn passion into innovation and common problems into uncommon solutions? Paul Manno is a Design Director and Principal with Gensler, a global design firm tackling everything from rethinking the uninspiring workspace to envisioning a more sustainable built environment. In this introduction to design thinking, Manno discusses how big ideas can develop from humble conversations around the kitchen table.
The Art Institute of Chicago is home to the Irving Penn Archives, one of the world’s leading collections of photographs and memorabilia about the artist. Natasha Derrickson, former Collection Manager in the Department of Photography and Archive Assistant in the Ryerson and Burnham Archives, discusses the materials contained in the archives and what they reveal about Penn's life and work.
Are virtues and vices all relative? What do artworks reveal about the moral systems of their time? Dr. Jean Kazez, Adjunct Assistant Professor in Philosophy with Southern Methodist University; Dr. Amy Freund, Assistant Professor and The Kleinheinz Family Endowment for the Arts and Education Endowed Chair in Art History with Southern Methodist University; and DMA Manager of Interpretation Andrea Severin Goins discuss works in the DMA's collection that shed light on the good, the bad, and the middle ground of various moments in history.
The music paintings of Johannes Vermeer and his contemporaries reflect a cultural and artistic heritage inextricably linked to music making. Steeped in symbolism, this subset of Dutch genre painting reveals the influence of music on nearly every element of daily life in 17th-century Netherlands, from social classes to gender norms and religion. Betsy Wieseman, Curator of Dutch and Flemish Paintings at the National Gallery, London, speaks about the lasting impact of music paintings from this period and contextualize Vermeer's music paintings within his larger body of work.
Merry Foresta, guest curator for the Smithsonian American Art Museum's exhibition Irving Penn: Beyond Beauty, takes a deeper look at this presentation of 140 works by one of America's best-known photographers. From his fashion photography featured in Vogue to his New York street scenes, portraiture, and travel photography, Penn completed a body of work spanning multiple genres, five continents, and nearly seventy years.
Merry Foresta, guest curator for the Smithsonian American Art Museum's exhibition Irving Penn: Beyond Beauty moderates a conversation with Tracy Achor Hayes, Editorial Director with Neiman Marcus, and photographer Debora Hunter. The panelists discuss their work in relation to Irving Penn's techniques, subject matter, and influence.
Robyn Lea, photographer, writer, director, and author of Dinner with Jackson Pollock: Recipes, Art and Nature (Assouline, 2015), discusses her research about what she found in the kitchen of Jackson Pollock and Lee Krasner, including handwritten recipes, cookbooks, and designer dinnerware. Dinner with Jackson Pollock showcases many of the couple's favorite recipes alongside stories about their dinner parties, Jackson's food-cure attempts, and new insights into his private domestic world, all accompanied by Lea's stunning photography.
Dr. Michael Schreyach, Associate Professor in Art and Art History at Trinity University, and Dr. Stephanie Straine, Assistant Curator at Tate Liverpool and contributing author to the Jackson Pollock: Blind Spots exhibition catalogue, provide an in-depth look at Pollock's works during his black paintings period. The scholars give a brief talk about their research followed by a discussion moderated by Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art and curator of Jackson Pollock: Blind Spots.
Ed Halter, founder and director of Light Industry and curator of the International Pop Cinema Daily Screenings, discusses the influence of the Pop movement on cinema. This selection of films runs concurrently with the International Pop exhibition and brings together a variety of works from the 1950s, 60s, and 70s that are rarely considered alongside one another. Halter reflects on his experience curating this collection and on cinema as an extension of Pop practice around the world.
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.