Pillow Talk and Sex on the Moon

Pillow Talk (1959)

Cathy Whitlock

Ooohh la la...it has been such a romantic weekend...oh, not for me, but for the Dallas Museum of Art! Thursday evening was the opening night of our new Pictureshow series, in which we play films that have a connection to an exhibit in the museum. Last Thursday we played Pillow Talk the 1959 film starring Doris Day, Rock Hudson, Thelma Ritter, and Tony Randall. It is a hilarious movie full of innuendo and desperate schemes all for love. It also has a fantastic set of wonderful Modern furniture and absolutely gorgeous costumes.

We asked Nashville writer Cathy Whitlock to introduce the film. She is an interior designer, author, and a popular blogger. Her book, Designs on Film, is a wonderful and thorough exploration of cinematic set design throughout the century. She covers films like The Wizard of Oz (1939) and Ben Hur (1959), all the way to Harry Potter (2001-2011) and Something's Gotta Give (2003).   Check out her blog here!

Pillow Talk was even more suitable for our audiences as Rock Hudson takes on the persona of "Rex Stetson," perfect gentleman from a Texas range, attempting to win the heart of chic and professional interior decorator, Doris Day. If you haven't seen this movie, I highly recommend it. It is flirty and witty all the way through and a downright classic. Check it out!

After the movie, Lisa, my supervisor in adult programming, took Cathy, me, and Kevin Tucker, the curator of decorative arts, out to a swanky tapas restaurant on Ross Avenue. It turns out, Kevin is from Columbia, S.C., and used to be the director at the Owens-Thomas House in Savannah! It was so nice to have someone to talk to about home for a little while.

Mezrich's Sex on the Moon

The following evening we hosted an interview of best-selling author Ben Mezrich. If you haven't heard of Mezrich, you may recognize him as the man who wrote the books behind the films 21 (book: Bringing Down the House) and The Social Network (book: The Accidental Billionaires). In an interview with Texas Monthly editor Brian Sweany, Mezrich discussed his latest book, Sex on the Moon, about Thad Roberts, a young NASA intern who stole a safe of moon rocks to impress his girlfriend. Evidently, he and his girlfriend spread the rocks beneath the mattress of their bed to have "sex on the moon!" Mezrich discussed his cinematic writing style that many critics such as Janet Maslin of the New York Times dismiss as supposition and exaggeration (click here for Maslin's scathing book review). Mezrich, however, insists that he does in fact do research (in this case he obtained Robert's entire FBI file as well as interviews with characters involved). He knows what was said, when it was said, just simply doesn't know the precise dictation, so he improvises.

Author Ben Mezrich

In the interview, Mezrich is a funny, endearingly nerdy guy, joking offhand about his numerous rejections from publishing companies as a young writer. That's not including even more rejections by women for being a geek! He kept the audience chuckling even as he addressed Maslin's review, saying that he writes for himself and those that enjoy reading his work, not for Janet Maslin.

This is an important note for anyone reading this. I want everyone to know that the word "novel" strictly applies to fictional books. This was my lesson learned this weekend. In the program for Ben Mezrich, I wrote, "Mezrich's novel Sex on the Moon has already been snatched by Hollywood to be made into a film by the same producers and studio as The Social Network." Seemingly harmless statement. WRONG. During the Q&A session, a woman approached the mic, read that sentence aloud, and put in a Maslin-esque argument about the fictional value of Mezrich's non-fictional work. A little awkward, but not a terribly big deal, except for the fact that C-SPAN was recorded this interview for the DMA and as promotional material for Mezrich's book. So just remember: novel=fiction. Yikes.

I had to go into the museum yesterday evening to help out family programming in the Center for Creative Connections (C3). We were gleaning inspiration from a Lee Bontecou sculpture to build our own large-scale sculpture. I can appreciate the artistic work of this Bontecou piece, but frankly, I think her work is terrifying, and grotesquely ugly.

Lee Bontecou, Untitled (35), 1961

It is constructed of welded metal, and canvas from old post bags, as well as copper wires. It's difficult to tell in the two-dimensional picture, but it is indeed very three-dimensional, looming out at the viewer with that ominous black hole. Just by looking, it is impossible to tell where the whole ends. The kids participating in this project loved it, saying it looks like a black hole, or the engine of a spaceship, or a volcano. The spaceship was the most overwhelming response, so, that's what we decided to construct using PVC pipes, chicken wire, and canvas. 

The spaceship!

My contribution!

We have another busy weekend coming up in July's 9x9 programming when the museum is open until 9pm for 9 days of the month. I'll be working with my co-worker, Hayley, on the DMAzing Race, a big scavenger hunt throughout the museum. It'll be a blast! 

Only three more weeks left of my internship...

22

Well, turning 22 was a lot different than turning 21.

I suppose for one thing, I forgot it was my birthday when I woke up on Sunday morning until Mom wished me a very happy birthday, and I thought "oh, that's right!" as I gave her a big hug. No monumental legal status attained.

Mom and Dad flew in for the weekend after visiting Alston and Nick in Boulder and spending some time with them in Taos and Santa Fe, New Mexico. I had such a wonderful time with them, showing them around Dallas, wining and dining etc. On Friday night we went to an incredible steakhouse, Pappas Bros., which was enjoyable in every sense of the word. The steak was perfectly cooked, the wine delicious, and it was just so great to see my parents after being in unfamiliar territory for awhile.

On Saturday morning we drove over to the Farmers' Market to get some fresh veggies for dinner. I think I might have eaten a whole tomato just from trying all of the offered samples from the different farms.

The Dallas Farmers' Market

On the way to lunch we stumbled upon Pioneer Plaza, which I had not yet seen. There is a magnificent bronze sculpture in the park called "Cattle Drive" with cast cowboys and bulls running lifelike through the square. Amazingly, the huge sculpture was all done by one man, Robert Summers.

Part of "Cattle Drive" in Pioneer Plaza, downtown Dallas

In the afternoon I showed them the DMA which they really enjoyed, though I think I may have walked their socks off. I just kept thinking of different exhibits that I wanted to show them! I'm glad they have an idea now of the amazing place where I work. That night we cooked our farmers' market veggies with "Bible study chicken," one of my favorite recipes from home.

On Sunday (my birthday) we went to church, which happened to be their birthday-acknowledgement Sunday, and went to the Garden Cafe for brunch. Then we drove out to Arlington to see the Dallas Cowboys Stadium. It is one incredible building. One of the girls at work described it as "the Mothership." It's not a far off description, as it does resemble a spaceship that could be in Star Trek.

Dallas Cowboys Stadium

We then drove around the campus of SMU and I showed them the Calatrava kinetic sculpture, "Wave," outside of the Meadows Museum.

Calatrava's "Wave," Meadows Museum, SMU

Then we wandered around North Park Mall which puts Atlanta's Lennox to shame.

We ate dinner at a place called Javier's which boasts authentic and gourmet Mexican cuisine. I was a little bit nervous that Mom and Dad wouldn't like it, because I know usual Mexican restaurants aren't their thing, but Javier's was amazing. I haven't had Mexican like that since Cabo. I think we each had a tenderloin, but prepared differently. Again the wine was great, and they brought me a slice of rich chocolate pie with a birthday candle.

It was a wonderful weekend with great food, great wine, and of course, the most wonderful parents ever. Thanks for the great time. Momma and Daddy, I love you.

Know Your Own History

Sorry I haven't written in so long! Last week was busy, cleaning up and working before Mom and Dad arrived for the weekend! I have some lovely downtime since we don't have any events for a couple of weeks. Besides, I am home anyway because I caught some nasty cold bug that another intern brought into the pit. My boss told me to get better so it doesn't spread to the rest of the office. So here I am, sitting in my bed snuffling, surrounded by tissues and typing lethargically like Meg Ryan in "You've Got Mail."

Since Tom Hanks isn't going to barge in here and try to make me feel better, I can update everyone on the past week!

Our last event was last Tuesday, featuring S.C. Gwynne and his novel Empire of the Summer Moon, a book about the Comanche Indians, their prime and decline. It follows the story of Cynthia Ann Parker, a young pioneer girl who was abducted by Comanches. She eventually married a powerful chief and her son, Quanah, was one of the last great Comanche leaders. The book was a finalist for the National Book Critics Award as well as the Pulitzer Prize.














S.C. Gwynne, a writer for Texas Monthly and now well-known author, is actually from the northeast. Wearing his cowboy boots onstage, he reflected on the "Wow!" factor of being a Yankee new to this immense state of Texas and what he termed "generational memory." In the north, he explained, the Indians had been subdued long before his forefathers. For his generation, there is no memory of Native Americans in the north, only textbook passages. There are no more frontier origins in the north, he said. Texas on the other hand, is still very much a pioneer state. Stories about Indians are not extracted from textbooks here, rather, they are told by those with immediate memory. Native Americans here are a part of the somewhat recent past compared to the citizens of the northeast. Texans should be proud of their generational memory and frontier origins and should take every opportunity to visit those places that remain monuments to that history.

The Comanche nation expanded to about 2,400 square miles of the American West. That is an enormous plot of territory that we wouldn't expect to belong to an Indian tribe. This wasn't just the general area where the Comanches hunted buffalo. This was their empire: militarily organized and defended. And, boy, were they defended.

When the Spaniards brought horses to the Americas, the Comanches too full advantage of this new species. They learned breeding techniques. The Comanches were clever and calculating. They knew that with horses they could hunt buffalo more efficiently and feed the tribe, they could fight wars ruthlessly for protection and conquest. This union of the Comanche tribe with the horse made them the dominant Indian nation in the west.

The Comanche Indians were divided into bands from 1,000 to 5,000 people, often according to family allegiances. Comanche men had a very Romantic freedom and social flexibility. The ability to recruit a war party increased social status. These war bands made Spanish presence in the west "irrelevant," as it struck terror into these European men.

One of S.C. Gwynne's readers during a book-signing thanked him for the "Hey Honey" book. When he asked what that meant, she said that while reading it, she frequently turned to her husband, saying, "Hey honey, did you know....?"

A member of our audience, in fact, a great-great-great...grandson of Quanah Parker, himself questioned Gwynne on the validity of his research methods. Most of Gwynne's research came from archival sources and documents. The man in the audience insisted that this research contradicted his interest in generational memory and immediate stories from the past. He wondered why Gwynne didn't interview any Comanche Indian relatives for information for his book. Snidely, he spat that Gwynne probably thought they didn't know their own history. A large amount of Q & A time had been usurped by this slight altercation, however, the man did have a point. Some primary source interviews would have been a suitable way to enhance the novel, however, Gwynne is an accomplished writer who can write his own book his own way. Evidently, the other night was not the first time these two have met.

Anyway, it was a very interesting way to end the evening for sure, and I am looking forward to reading this book!

Mr. Opportunity

There's something like a line of gold thread running through a man's words when he talks to his daughter, and gradually over the years it gets to be long enough for you to pick up in your hands and weave into a cloth that feels like love itself. 
 ~John Gregory Brown




Last week, my friend Joyce accidentally blogged an early Happy Father's Day note. Terrified and embarrassed, I immediately set to drafting this blog before I realized that she had made a mistake. Thank goodness it was a mistake, because to neglect Father's day for my dad would be undeniably egregious.

Picking out a Christmas tree, 2010

My father is the greatest man in my life. The man who has been my supporting keystone and who has made all of my dreams possible. Like a broken record you have encouraged my to "take advantage of all the opportunities." That ceaselessly repeated phrase has become a vital necessity to my daily life. Without you there would be significantly fewer opportunities available. To you, Daddy, I dedicate my work ethic, my stamina, and  the fruition of all of my opportunities.

Salmon fishing in Alaska, summer 2007

Thank you for giving me ample opportunities that have been my privilege to take.


I love you, Daddy.

North Carolina Thanksgiving, 2010

A Lesson in Subtraction

"The true poem is the daily paper."
 ~Walt Whitman

Friday night was my first Late Night at the DMA. It was a fun, buzzing atmosphere with hundreds of people of all ages at the museum for bedtime stories, art workshops, and a free concert by The Polyphonic Spree.

"The art doesn't go home, why should you?"

Arts & Letters Live hosted poet Austin Kleon who gave a presentation about his creative process and published collection of poems, Newspaper Blackout. Austin is such a nice guy who just stumbled across his style as a struggling college graduate attempting to write. His poetic method has been very well-received by young artists and writers everywhere, through the omnipotence and omnipresence of the internet and guess what, blogs!  It was my great privilege as an intern to give the introduction for Austin Kleon, so I thought I'd just re-write my speech here.

Newspaper Blackout by Austin Kleon

Austin Kleon is an innovative artist, extending poetry beyond the literary genre and into the visual. Crossing out words in a newspaper began as a way to relieve writer's block; however, the amusing messages adn hip design that resulted have been received with enthusiasm from aspiring artists and poets everywhere. The New Yorker says, "[The poems] resurrect the newspaper when everyone else is declaring it dead...like a cross between magnetic refrigerator poetry and enigmatic ransom notes, funny and zen-like, [his poems are] collages of found art..." Austin honed a simple hobby into a progound artistic paradox: creation through destruction. He excavates and polishes clever, penetrating diction, forming his own thought-provoking statements, then buries the remaining mass of text in darkness. Cleveland Plain Dealer compares Kleon's creative process to that of an artistic master, saying that he is "sort of like Michelangelo carving away the marble that imprisoned what he saw within." 

"Pirate's Booty," Austin Kleon

Austin's work has a special appeal that resonates with all audiences. In newspapers he uncovers the tenderness of family, the awkwardness of adolescence, and Texan identity, all garnished with refreshing whimsy and imagination. He certainly uncovers the fun in literature. Please welcome Austin Kleon. 

Austin just takes a newspaper article, finds the words he likes, connects them into a sort of poem or story and then blacks out the rest of the article with a Sharpie. Some question his technique, wondering if he just usurps the work of journalists to call it his own art. In his presentation, however, Austin was very clear that he pays little attention to the actual substance of the article, but more to the present diction in order to create his own piece from the existing work. The more subtraction he does from the article, the more the art is his own. He compared himself to Igor Stravinsky, a composer who loved classical music so much that he took the sheet music for multiple classical ballets and edited it according to his own desire to create something new.

Austin explained the artistic process of imitating role models and influential persons. It is in our failure to adequately represent them that our own quirks and personalities emerge in our artwork and writing. On his powerpoint he included this video by Clement Valla who experimented the evolution of a single copied line. Valla asked 500 people to trace a single line. Each person only traced the line that preceded their own (if that makes any sense?) Watch what happened:

So, you see how in an effort to imitate our predecessors, we create something new and unique to our own self. Some may call this stealing, however, if this is the case, there are few artists who do not steal. In fact, the book on which Kleon is currently working is entitled Steal Like an Artist. What he does is not plagiarism, rather fair use, and reinterpretation.

Kleon is only the most recent of generations of people who have manipulated the newspaper. Creative ideas for recycling newspapers date back all the way to Caleb Whitefoord, Benjamin Franklin's neighbor, in the 18th century. instead of reading newspaper columns top to bottom, he read them straight across, many resulting in humorous jokes and phrases. Here are some:

"Notwithstanding the present exorbitant price of candles—Some dark transactions will soon be brought to light."


"Wanted to take care of an elderly Gentlewoman—an active young man just come out of the country."


"Last night a most terrible fire broke out—and the evening concluded with great festivity."


Whitefoord's humor, as well as the poetry of Dadaist Tristan Tzara, and "beat" author William S. Burrough's are prototypes of Kleon's avant-garde work that has now gone viral. 


On his website, Austin encourages people from all over the world to create their own blackout poems and submit them to newspaperblackout.com. From the daily submissions, Kleon selects one for display on the website. 


Austin's charisma was a pleasure to have at the Dallas Museum of Art for our Late Night and the following day for a Young Writers Workshop. He had us all trying our hand at newspaper blackout, which believe me, is MUCH harder than it looks! Give it a shot!




Here's one of my favorites that particularly applies to my current circumstance: 

"Summer in Texas," Austin Kleon

Visit www.AustinKleon.com for more information and updates about him and his work!

The Spanish Exhibition

"Color

           is

                       Light"

                                                ~ Esteban Vicente

Last Friday I had the morning off so I ventured over to the Meadows Museum on the campus of Southern Methodist University. The museum has an incredible collection of Spanish art that the Prado would itch to get its hands on. Actually, it was the goal of founder Algur H. Meadows to establish a pequeñito Prado in Texas. The goal has become realized in the Meadows Museum's three year partnership with the grand Spanish institution. With this alliance, the Museums will exchange two graduate student interns for an incredible opportunity in the curatorial field at an international level. With its collection and educational opportunities, the museum is truly a gem that Dallas is very lucky to have.

The first thing that is noticeable about the Meadows Museum before you even enter it, is the sound. As I was getting out of my car, the sound of metallic screeching and creaking reached my ears before I even turned to walk toward the building. Wondering what in the world needed so much grease, I came upon a fantastic undulant, kinetic sculpture by contemporary Spanish architect and sculptor Santiago Calatrava. Calatrava is easily recognized by his very linear style that is oftentimes arranged to produce very curvilinear effects.

Santiago Calatrava, Gare do Oriente, Lisbon, Portugal

His sculpture, "Waves," outside of the Meadows Museum is much more modest in appearance, though perhaps more dissonant in sound:

Like it? I happen to love it. For a more thorough description see this video by SMU and Meadows Museum director Mark Roglán:

Once inside the museum it is very quiet and elegant with ornately framed pieces and a large curved staircase in the entrance hall. The museum is full of Spanish medieval and Renaissance art including portraits of saints by artists like El Greco and Ribera, as well as impressive altarpieces by unknown artists. There is also a lovely collection by Spanish impressionist, Joaquín Sorolla, who I love. We went to his museum in Madrid that is preserved to resemble his home and studio. He is most known for his quaint beach paintings. 

I couldn't find any pictures of the pieces in the Meadows collection, but here's my favorite painting from el Museo Sorolla in Madrid:

Joaquín Sorolla, "Niña entrando en el baño"

Currently, there is a wonderful exhibition of abstract impressionist Esteban Vicente. He was in the same school of painting as Mark Rothko, Jackson Pollack, and Robert Motherwell, all of whom I like because they maintain thought-provoking meaning and skill in their work without crossing the border into the inexplicably bizarre art of the contemporary period.  Vicente loves color in his work. He went through a monochromatic phase early in his career with a palate similar to that of Jackson Pollack, however he is most known for his vibrant collages like "Labels," and abstract paintings like "Collage No. 3." 

Esteban Vicente, "Labels"

Esteban Vicente, "Collage No. 3"

The visit to the Meadows Museum reminded me of how much I love Spanish art and how underrated it is. One always hears of French impressionists, van Gogh, Monet, Degas, etc., but hardly anyone knows who Joaquín Sorolla is. I had never heard of Esteban Vicente until my visit, and he is now on my list of favorite painters along with Pollack and Rothko.

The morning passed quickly and I had to leave one museum to go to work at another!

The Weight of Pencils

Well, it has been a harangue getting my internet up and running, and even after spending ALL DAY LONG waiting for the AT&T man to fix it, it is still not the speed that I am technically paying for. So, I have the immense pleasure of hosting yet another AT&T man in my home tomorrow evening. So MAYBE I can finally watch the season finales of Modern Family and Glee. There is, however, enough internet signal for me to update my blog! So here goes.

Last Saturday was the first annual BooksmART Festival hosted by Arts & Letters Live and boy, was it a success! The museum was crawling with infants, toddlers, and young teenagers all running back and forth between story times, author presentations, illustration workshops, and of course the book-signing tent. We had to have extra volunteers on stroller parking patrol. The week leading up to the festival was full of volunteer training, sign making, and logistical meetings. A lot of thought was channeled into the rotational schedule of the event, how to arrange the stage and speakers for the performers, and of course, where to unload the five vans of faeries that would be arriving in time for their afternoon performance. It was wonderful to see all of our extremely hard work pay off in such an energetic day.

A poster for the BooksmART Festival

My particular task that day was to escort one of our participating authors around the museum to his various stations. Duncan Tonatiuh (Doon-cahn Toe-na-tee-oo, phonetically speaking) is particularly notable for his work as an author and an illustrator at the very young age of 26. He was born in San Miguel de Allende in Mexico and even now spends half of the year there and the other half in New York City. He has his life cleverly arranged to outsmart winter. 

Author/Illustrator Duncan Tonatiuh

I went to go pick up Duncan at his hotel near Lovefield Airport. Gripping my iPhone the whole way, I was relying completely on my Google Maps app and praying that I didn't get lost. It was after all, the first time I had ventured away from Central Expressway, Henderson, or Mockingbird. I finally collected my author, who is much smaller and younger looking than in that picture, and frantically apologized for my iPhone (which had just crashed) and that I was not quite sure how to get us to the museum. Fortunately, I have a decent internal compass and found my way back to Lemmon Avenue which took me back to Central and my comfort zone. 

Once we arrived at the museum we were whisked away to the green room for tea and coffee before heading to the Latin American galleries for Duncan's first story time. Duncan's latest story is a picture book about young muralist Diego Rivera and how he would see our world today. Appropriately, Helen, the consultant for Arts & Letters Live, placed us right next to a Diego Rivera self-portrait on the fourth floor. 

He did another story time downstairs in C3 (Center for Creative Connections) during which he drew for the children, letting them choose the subject for the picture. The masterpiece du jour was "Carlos Riding a Pony." 

Duncan also gave a presentation about the inspiration for his work which was very interesting. His illustrative style derives from the Mixtec tradition of ancient Mexico, with characters in profile and round figures. It is very flat and two-dimensional just like the codices written by scribes of ancient Latin America. 

A Mixtec codex

A page from Tonatiuh's picture book, Dear Primo

Duncan was frequently asked what his next project is. He is currently working on a rendition of Little Red Ridinghood in which the wolf is replaced with a coyote and the whole story takes place in the borderlands of Texas and Mexico. Though it is primarily a picture book for children there will be political and social undertones that adults will certainly be able to grasp. It should be published next fall.

We ate lunch in the green room, accompanied by Caldecott Medalists David Weisner and Jerry Pinckney, who were delightful to listen to. (Note, the Caldecott Medal is a prestigious award for illustration). Weisner shared his ideas for an upcoming graphic novel while Pinckney explained his process for watercolor workshops.

"Jerry, I have an immensely important question for you," stated Mr. Weisner.

"Now what is that?" Inquired Mr. Pinckney.

"I have long admired and observed your work, but tell me, what weight pencil do you use?" queried Mr. Weisner, seriously. 

Jerry Pinckney uses a .2 weight pencil, if I remember correctly. He also explained more about his process and medium, which David Weisner absorbed very intently. The whole conversation was a most humorous and endearing vignette of these wonderful artists.

During our short breaks I showed Duncan around the museum. He particularly enjoyed the exhibit of ancient art of the Americas, including Peru, Mexico, and North America. I tried to give him a more extensive tour but ended up getting us lost somewhere in between Indonesian art and Japanese art. Tell you what, the DMA is one museum I would hate to be trapped in.

Our final station for the day was the book-signing tent outside in Ross Plaza. It was quite toasty, but fortunately we were only there for 45 minutes. Rick Riordan, author of consecutive NYTimes Bestselling series, was outside for the entire afternoon. The line for his table wrapped around half of the DMA circumference. Duncan's last name, Tonatiuh, has indigenous roots meaning "sun god." Every time he signs a book he says: "Enjoy this LIBRO, from your AMIGO, Duncan Tonatiuh," with a Mixtec sun next to it. 

At 3:45 I escorted Duncan to his town car which would transport him to the airport. He asked me to send him the picture we took in the book-signing tent, so somehow I'll figure out how to get that to him. And then he went. My author-friend-for-the-day was gone and after so much running around and chaos, I was free to go home! 

Duncan Tonatiuh and me in the book-signing tent

Up next: A weekend with innovative poet Austin Kleon.