Dallas Museum of Art: The Year in Review 2009–2010

dallas museum of art

the year in review

2008–2009

the year in review

2009–2010

President’s Report 2

Director’s Report

On the cover: PAUL SIGNAC Comblat-le-Château, the Meadow (Le pré), Opus 161 1887 Oil on canvas Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2010.14.McD

4 © 2011 Dallas Museum of Art

Acquisition Highlights 8

Exhibitions 25

Education 29

Editors: Bonnie Pitman, Queta Moore Watson, Tamara Wootton-Bonner Contributors: John R. Eagle, Bonnie Pitman, Tamara Wootton-Bonner, Carol Griffin, Brent Mitchell, Eric Zeidler, Joni Wilson, Gail Davitt, Logan Acton, Becky Prince, Linda Lipscomb, Yemi Dubale, Liza Skaggs, Jeremy Hunt, Jeff Guy Copyediting: Queta Moore Watson Photography and Imaging Services: Giselle Castro-Brightenburg, Brad Flowers, Adam Gingrich, Chad Redmon, Jeff Zilm Pages 2, 31 (top right): Photos courtesy Dana Driensky Page 31 (third from top): Photo by Bruno Pages 33 (top left), 35 (top): Photos courtesy Daniel Driensky Design: Dittmar Design, Inc./www.dittmardesign.com

Development 31

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.

Board of Trustees 34

Financial Summary 36

1717 North Harwood Dallas, Texas 75201 214 922 1200 DallasMuseumofArt.org

After June 30, 2011, an expanded version of the annual report, including a complete list of acquisitions, will be available online at DallasMuseumofArt.org.

Mission STATEMENT

We collect, preserve, present, and interpret works of art of the highest quality from diverse cultures and many centuries, including that of our own time.

We ignite the power of art, embracing our responsibility to engage and educate our community, contribute to cultural knowledge, and advance creative endeavor.

Adopted by the Board March 25, 2010

Visitors look closely at an African mask

President’s Report

j o h n r. e ag l e pr es i d ent, b oa r d o f t r u stees

I am very pleased to present a report of the Dallas Museum of Art’s broad range of activities and accomplishments during fiscal year 2009–2010.

Chairman Deedie Rose, trustee Caren Prothro, President John Eagle, trustee Margaret McDermott, and Director Bonnie Pitman at the twenty-five-year Arts District celebration

The past year has been one of enormous excitement, vision, and accomplishment for the Museum. Together with the Board of Trustees and staff, the Museum fulfilled its mission of serving the community and advancing program excellence in art and visitor engagement while maintaining a balanced budget.

We celebrated the 25th anniversary of the Museum’s move downtown as pioneer and cornerstone of the Dallas Arts District. We added ninety-four works of art to our collections, including six stunning acquisitions donated by

the Eugene and Margaret McDermott Art Fund, Inc., one of which, Paul Signac’s Comblat-le-Château, the Meadow, is reproduced on the cover of this annual report. We welcomed over 480,000 onsite and 594,000 online visitors, and we presented twenty-one exhibitions and over 6,300 programs this year.

We celebrated the inauguration of our newest neighbor, the AT&T Performing Arts Center, through several exhibitions and programs, including All the World’s a Stage: Celebrating Performance in the Visual Arts and Performance/Art. In addition to presenting such exciting and innovative exhibitions as Coastlines: Images of

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Land and Sea, Mexico 200, and African Masks: The Art of Disguise, we published The Arts of Africa at the Dallas Museum of Art, the first major catalogue to showcase the DMA’s African art collection, produced in honor of the 40th anniversary of the founding of the collection by Eugene and Margaret McDermott, and Gustav Stickley and the American Arts & Crafts Movement, a comprehensive scholarly catalogue accompanying the DMA exhibition of the same name, which opened at the Newark Museum in September 2010.

We expanded our early learning and access initiatives through our First Tuesday programming (free for all), new community partnerships such as SLANT 45, and a new focus on access for visitors with special needs, including Family Celebrations just for children with autism and their families. We continued to enhance visitor engagement in the galleries and exhibitions through Late Nights, which saw attendance this year remain at record levels; the use of new technologies such as smARTphone tours and social media, including Facebook and Twitter; and the recently reinstalled Center for Creative Connections (C3), whose innovative strategies for visitor engagement and interaction serve as a model for museums around the country. In addition, we made numerous other improvements and renovations to the Museum’s physical space. We completed a seven-year visitor engagement research initiative with Randi Korn & Associates, Inc., composed of six in-depth visitor studies, and presented our findings in the widely acclaimed publication Ignite the Power of Art: Advancing Visitor Engagement in Museums. Written

by Bonnie Pitman and Ellen Hirzy, Ignite the Power of Art unveils a new model for museums to understand visitor experiences with art, use what they learn to transform their practices, and engage with audiences in an ever changing environment. The book has been hugely successful and is already in its second printing. Finally, we embarked on our strategic plan, to be completed in 2011, to ensure that we are well prepared for our future.

These achievements become all the more impressive when considered in the context of the current economic climate affecting museums all over the country.

All sources of contributed and earned revenues have been affected, as well as our endowment distribution. The solution has been to drive down expenses while optimizing program and marketing opportunities and seeking new sources of revenue. Most critical this year was the Trustee Initiative, which dramatically exceeded its target amount of $500,000. I would like to express my thanks to our distinguished Board of Trustees for their farsighted leadership and civic-mindedness in supporting the Museum in so many different ways.

The Museum has also benefited from numerous other donations and fundraisers. Art Ball 2010: Coastlines raised over 1.5 million dollars. The annual Two by Two for AIDS and Art benefit event raised more than 1.7 million dollars to benefit the DMA's contemporary programs and acquisitions. Affair of the Art 2010: Great Impression raised more than $125,000, Art in Bloom raised almost $140,000, and Donor Circle memberships continue to generate 20% of our annual revenues. Corporations, such as Texas Instruments and Bank of America, contributed generously to Museum exhibitions and programs. I would like to offer my sincere appreciation to this year’s financial supporters.

We also wish to express our immense gratitude to the following volunteer leaders, who have all contributed to the success of this year. We elected the new officers of the Board of Trustees for 2010–2011: Deedie Potter Rose, Chairman; Mary McDermott Cook and Cindy Rachofsky, Vice Presidents; Ann V. Hobson, Secretary; and Victor D. Almeida, Treasurer; and welcomed the following new trustees and representatives for 2010–2011: Naomi D. Aberly; Elaine B. Agather; Sharon Ballew, DMA League President; Gabriel Barbier-Mueller; Jonna Brashear, Junior League of Dallas Representative; J. E. R. Chilton, Honorary Trustee; John W. Dayton; José M. Gutiérrez; David J. Haemisegger; Charles Jacaman, Junior

Associates Circle Co-Chair; Debra Hunter Johnson; Linda Kao; Mary Noel Lamont; Patrick K. McGee; Forrest E. Miller; Jay A. Pack; Alden Pinnell; Judy Pollock, City of Dallas Cultural Affairs Commissioner; Jessie Price; and Catherine M. Rose. The Board wishes to thank this past year's officers and committee chairs: Mary McDermott Cook and Cindy Rachofsky, Vice Presidents; Linda Kao, Secretary; and Victor D. Almeida, Treasurer; Walter B. Elcock, Audit Committee; Patrick K. McGee, Budget and Finance Committee; Lucilo A. Peña, Building Committee; Margot B. Perot, Committee on Collections; Marguerite Steed Hoffman and Cindy Rachofsky, Committee on Trustees; Nancy Carlson and Sharon Young, Development Committee; Robert H. Dedman, Jr., Compensation and Benefits Committee; Richard R. Pollock, Education, Libraries, and Digital Initiatives Committee; Ronald G. Steinhart, Investment Committee; and Catherine M. Rose, Strategic Planning Committee. We recognize the following trustees, who retired in 2010: Dolores G. Barzune; Doris Bass; Barbara Thomas Lemmon; Katherine Mathes, Junior Associates Circle Co-Chair; Debbie Munir, Junior League of Dallas Representative; Gail Sachson, City of Dallas Cultural Affairs Commissioner; Gay Solomon; Marilyn Willems, DMA League President; and W. McDonald Williams. We greatly appreciate the dedicated leadership of these individuals during their tenure on the Board.

In addition to the volunteer contributions of the Board of Trustees, we benefit from the dedication of numerous other volunteers, including our devoted Museum docents and the following special event and support organization chairs and leaders: Melissa Fetter, Art Ball Chair; Barbara Bigham, Art in Bloom Chair; Deborah and John Scott, The Forum Co-Chairs; Renee and Bill Lokey, An Affair of the Art Co-Chairs; Marilyn Willems, Dallas Museum of Art League President; Laura Green and Katherine Mathes, Junior Associates Circle Co-Chairs; Debbie Munir, Junior League of Dallas Representative; and Jan Showers and Elizabeth Showers, amfAR Two by Two for AIDS and Art Benefit Auction Co-Chairs. These committed and talented individuals gave countless hours and significant funds in fiscal year 2009–2010, helping us achieve our ambitious goals.

The Museum wishes to note the deaths of the following patrons and friends, with gratitude for their involvement as trustees, members, donors, staff, docents, and volunteers: Robert W. Bybee, Minnie Cook, Harris Garrett, Sydney Hall, Mary Ella King (Mrs. Rollin), Milton P. Levy, Jr., Edgar G. McKee, John Moore, Marge Morrice, Edmund P. Pillsbury, Virginia C. Ramsey, Frank K. Ribelin, Hugh G. Robinson, Sadie Seay, Allen T. Segal, Margaret Moore Solomon, Anne Marie Walker, John L. Ware, and Carolyn Williams.

We would also like to acknowledge the Museum’s talented staff members, led by Bonnie Pitman, who through their work and dedication ensure that the high standards of the Dallas Museum of Art are maintained and advanced. Without all of the people who contribute in so many ways to the welfare of the Museum— the patrons, sponsors, volunteers, members, and staff—the institution would not be the dynamic cultural center serving the North Texas community and broader art world that it is today. Despite budgetary constraints, we have not curtailed our hours of operation, remaining open every day of the week except Monday, and we offer free access to school groups and children under 12 and to our entire community during events such as First Tuesdays and Family Celebrations.

The shared experiences and successes we have seen over the past quarter century are truly inspiring. The opening of the magnificent AT&T Performing Arts Center, which brings international attention to the city of Dallas and marks the completion of a twenty-five-year vision for the Dallas Arts District, is only the latest in a series of milestones that will continue with the opening of The Park in 2012 and the Perot Museum of Nature and Science in 2013. As all eyes are on Dallas, the DMA is well prepared to embrace our future and continue our remarkable trajectory to be the essential creative resource for Dallas, North Texas, and the world.

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Director’s Report

b on n i e p i tm a n the e u gene mc d e r m ott d i r ecto r

The past year has been one of celebration and experimentation, all of which revolved around three key themes: art, engagement, and achievement.

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PRECEDING PAGE AND THIS PAGE Left to right:

Dancers perform at the opening of Encountering Space in the Center for Creative Connections; Daniel Hunt, Norma Hunt, Sharron Munson, and Clark Hunt at the event

celebrating the formal acknowledgment of Norma and Lamar Hunt as donors of the Museum’s magnificent painting The Icebergs; The Kelli and Allen Questrom Director of the Center for Creative Connections Susan Diachisin, trustee Kelli Questrom, Director Bonnie Pitman, and Allen Questrom at the donors reception for the C3 exhibition Encountering Space

The extraordinary accomplishments outlined in this report would not have been possible without the contributions and dedicated work of our trustees, supporters, friends, and staff. It was a very exciting year, and I am pleased to present a report of the Museum’s broad range of activities and successes during fiscal year 2009–2010.

Art The year began against a backdrop of historical achievement as we welcomed our new neighbor, the AT&T Performing Arts Center, and celebrated our own 25th anniversary since the Museum opened its downtown location and became the cornerstone of the Dallas Arts District. We commemorated the occasion with two exhibitions that celebrated performance-themed objects, drawn mainly from the Museum’s collections. All the World’s a Stage: Celebrating Performance in the Visual Arts showcased more than one hundred works from the collections featuring performance and spanning 2,600 years of creativity from around the globe. The exhibition included video installations accompanying some pieces and an audio component offering samples of music from around the world, as well as a central video area where visitors could watch excerpts of interviews with local artists. Performance/Art, encompassing painting, sculpture, video, and installation, featured the work of six contemporary artists who have adapted elements and characteristics of theater, opera, and performance in their work.

Amidst the celebration and reminiscence, the Museum also experienced phenomenal growth and enrichment throughout its comprehensive collections. Overall, the Museum’s holdings grew by ninety-four works in fiscal year 2009–2010. The extraordinary highlight of the year consists of six transformative acquisitions donated by the Eugene and Margaret McDermott Art Fund, Inc. They include two exquisite objects of Asante gold for the African collection—a linguist’s staff (okyeame poma) and a sword ornament in the form of a lion—and four European paintings— Caillebotte’s Yellow Roses in a Vase, created during Caillebotte’s most intense and fertile engagement with the still-life genre and the first work

by Caillebotte to come into the Museum’s collections, in honor of Janet Kendall Forsythe; Kirchner’s Four Wooden Sculptures (recto)/Ice Skater (verso),

a double-sided canvas featuring images from two diverse periods in Kirchner’s career and representing the first painting by an artist from the Brücke group in the Museum’s collections; Signac’s Comblat-le-Château, the Meadow, from an important series of landscape paintings completed by the artist during the first crucial years of the neo-impressionist movement (this painting has not been on view since 1930); and Vuillard’s Chestnut Trees, a unique, early work that became the cartoon for a stained-glass window produced by Tiffany Studios. In addition, the public acknowledgment of Norma and Lamar Hunt as the previously anonymous donors in 1979 of The Icebergs by Frederic Church focused renewed press coverage and acclaim on this iconic masterwork from the Museum’s American art collection. Additional highlights include acquisitions by contemporary artists David Altmejd, Bruce Nauman, and Charline von Heyl; decorative arts objects such as an armchair by Gustav Stickley and an enameled vase featuring Viking motifs by George Paulding Farnham; a 4th- to 6th-century terracotta Thinking Bodhisattva from Afghanistan; and a Maya flint with heads of K’awil from between A.D. 600 and 900.

As the collections continue to grow, we have found innovative ways to promote and showcase them. Our approach has been to display objects from the collections in a series of exhibitions tied together thematically.

One example, The Lens of Impressionism: Photography and Painting Along the Normandy Coast, 1850–1874, organized by the University of Michigan Museum of Art and consisting of both loans and works from the collections, and the more broadly conceived Coastlines: Images of Land and Sea, drawn mainly from the Museum’s holdings, were paired in adjacent galleries to give an in-depth and expansive portrayal of the coastal experience over time and in various media. Coastlines was presented with an innovative multilayer sound installation created by graduate students and faculty from the University of Texas at Dallas. The Lens of Impressionism was accompanied by a special audio and smARTphone tour of the Museum’s Wendy and Emery Reves Collection, featuring select masterpieces

by Manet, Cézanne, and other artists. The Museum also commemorated the 200th anniversary of Mexico’s independence with Mexico 200, a presentation of two additional thematically tied exhibitions, José Guadalupe Posada: The Birth of Mexican Modernism and Tierra y Gente: Modern Mexican Works on Paper, both of which celebrated Mexico’s long tradition of

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exquisite artistry and were accompanied by a brochure highlighting the DMA’s Mexican collection of almost a thousand pieces, covering more than three millennia of Mexican art history.

In September the Center for Creative Connections unveiled its innovative Encountering Space exhibition, a transformation of the entire C3 space, bringing a completely new look and feel to the Center while maintaining the interactive, exhilarating atmosphere that has made C3 so popular with visitors. I am deeply grateful to Kelli and Allen Questrom, the Meadows Foundation, Catalyst Donors, MetLife Foundation, and many others in the community for their generous support of this groundbreaking exhibition and the renovated learning spaces. Two other exhibitions this year have followed the publication of major scholarly catalogues. The Arts of Africa at the Dallas Museum of Art, an award-winning publication celebrating the 40th anniversary of the founding of the Museum’s stellar collection of African art by Eugene and Margaret McDermott, and the first in a series of catalogues that will

A visitor takes a smARTphone tour of the African Masks exhibition

document the important treasures housed in our museum, preceded the exhibition African Masks: The Art of Disguise, which showcased loans along with masks from the Museum’s collections, complemented by additional masks on view in the galleries. Loops of rare video footage highlighted many of the objects, documenting their use in ceremonies, rituals, and dances, and a smARTphone tour accompanied the exhibition, generously supported by the Sara Lee Foundation. The exhibition catalogue Gustav Stickley and the American Arts & Crafts Movement preceded the exhibition of the same name, which opened in Newark at the end of the fiscal year. This monumental and comprehensive exhibition, organized by the Dallas Museum of Art, was supported by a generous grant from the Henry Luce Foundation and the National Endowment for the Arts. Both the catalogue and exhibition debuted to great acclaim and highlighted important Stickley objects in the Museum’s collections. In the summer, the first U.S. retrospective of the work of Belgian contemporary artist Luc Tuymans presented us with an opportunity to showcase important works by the artist from collections in Dallas, including our own.

Engagement In addition to the expansion and presentation of our collections, we devoted ourselves to our public through various strategies of enhanced access and community engagement. The Museum offered over 6,300

programs enjoyed by nearly 300,000 visitors, exceeding our goal of engaging one in two visitors more deeply with art: 71% of visitors participated in an educational program this year. Late Night attendance averages 40,000 annually, and First Tuesdays enjoyed an explosive growth in attendance; the average First Tuesday drew 2,500 visitors, more than 50% higher than a year ago. The 480,100 visitors who came through our doors during fiscal year 2009–2010 are an indicator of the Museum’s success in sustaining robust attendance figures.

Over the past year, the Museum has continuously expanded access for visitors. We provide free admission to a large percentage of our overall attendees—including children, student groups, and low-income families— through outreach partnerships. Families enter free of charge on First Tuesdays and several family days throughout the year. We expanded the reach of our afterschool programs and engaged in a partnership with Dallas-based nonprofit Big Thought, including the SLANT 45 project for Super Bowl XLV. We are always striving to reach new audiences at the Dallas Museum of Art. The Museum launched new programs serving children with autism and their families, adults experiencing the early stages of Alzheimer’s, and children and adults with visual impairment as well as learning disabilities.

Another way we engage our public is through community partnerships, which forge connections both with other museums and with educational institutions and nonprofits. This allows us to engage their respective audiences while exposing our own audiences to a range of exciting new synergies and educational opportunities. For example, faculty and alumni of the Division of Art and the Center of Creative Computation, Meadows School of the Arts, Southern Methodist University, created a C3 community partner response installation entitled Living Room in the Center for Creative Connections as part of C3’s current exhibition, Encountering Space. The Museum is dedicated to collaborating with artists.

Textile artist Lesli Robertson conceived, directed, and helped create the community response installation Woven Records, installed in C3 as part of its previous exhibition, Materials & Meanings. Artist Jill Foley created an installation over the summer in C3’s temporary space in the Tower Gallery, using recycled cardboard that enveloped visitors in an active space. In addition, we refreshed our weekly series Thursday Night Live to provide artist-led workshops in the Center for Creative Connections.

Visitor and community engagement rely on continuous research to deepen our understanding of our audiences and their connections with art. January 2010 saw the publication of the sixth research report, conducted jointly by the DMA and by museum planning, evaluation, and research firm Randi Korn & Associates, Inc., entitled Web User Research: 2009 Survey of Arts Network Users. These six studies, which provide the basis for the Museum’s evolving Framework for Engaging with Art (FEA), investigated our visitors’ knowledge of, responsiveness to, and comfort in connecting with art, their behavior as art consumers, and their preferences for types of interpretation and programming. The resulting Framework for Engaging with Art provides a revolutionary tool for understanding and thus engaging our visitors. For more information on FEA and its implementation, I refer you to my book Ignite the Power of Art: Advancing Visitor Engagement in Museums, co-authored with Ellen Hirzy and published by the Dallas Museum of Art.

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Achievement I am happy to report that the Museum received numerous prestigious awards during the 2009–2010 fiscal year. We were voted the 2010 Best Museum for Families in Dallas Child (in 2009 they named the DMA Best Cultural Spot for Families). For the second year in a row, the Museum received the Nickolodeon Parents' Pick Award for Best Museum, and the exhibition catalogue The Arts of Africa at the Dallas Museum of Art, by Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, received a 2010 Texas Association of Museums Mitchell A. Wilder Gold citation. We are also considered a leader in the use of technology and social media: several staff members were invited to speak at the 2010 Handheld Conference at the Tate Modern in London, and DMA followers on Twitter and Facebook number close to 15,000 each. The Museum participated in national Twitter “Ask the Curator Day” in September, an event that received over 9,000 tweets internationally, and we launched the DMA blog Uncrated to critical acclaim. A grant from the Institute of Museum and Library Services will allow the Museum to post teaching materials online, expanding our outreach to teachers directly in the classroom.

The Museum underwent a number of changes and renovations during the year. As mentioned, the Center for Creative Connections was transformed by the new exhibition Encountering Space, which is far more than just an installation: the construction took a familiar space and re-created it as something new and fresh. We also refurbished Fleischner Courtyard with the full collaboration of the artist, Richard Fleischner, making the courtyard more user-friendly through new lighting, seating, and a more stable floor to allow for additional programs and increased usage. The Museum’s inner courtyards benefited from new plantings and repairs, resulting in more beautiful outdoor spaces within the Museum’s galleries. The entire first floor and exterior areas were repainted and refreshed to celebrate the opening of the AT&T Performing Arts Center. As part of the ongoing art storage project, funded by the Hoblitzelle Foundation and the National Endowment for the Humanities, several spaces were renovated for Archives, Works on Paper, and Small Objects storage. Finally, the Museum received vitally important Transport Security Administration certification from the U.S. Transportation Security Administration to ship works of art. We are one of only a few museums in the country to achieve this clearance level, and it is a testament to our high standards of organization and excellence.

All of the activities documented in this report would not be possible without our dedicated supporters. I am pleased to report that we were able to maintain our hours of operation and commitment to staff. We accomplished this primarily because of the excellent work of our staff and

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the generosity and aid of many close friends and trustees, especially the hugely successful Trustee Initiative, which raised more than $570,000 in operating support for the Museum, as well as ongoing events such as the Art Ball and Two by Two for AIDS and Art, which annually bring significant funds to the Museum’s operating budget. For your support of the Museum and our mission during this critical time, we offer our heartfelt thanks.

A number of exciting milestones lie before us during the coming fiscal year. We will celebrate the 25th anniversary of the founding of the Wendy and Emery Reves Collection, we will unveil several newly installed collection galleries, we will continue our experimentations with technology in our exhibitions and galleries, we will increase our engagement with our community through strategic partnerships and access opportunities, and we will present our strategic plan. The DMA-organized traveling exhibition Gustav Stickley and the American Arts & Crafts Movement will come to Dallas

Children enjoy an activity in the Fleischner Courtyard during an Autism Awareness Family Day

before traveling on to the San Diego Museum of Art; the critically acclaimed exhibition The Mourners: Medieval Tomb Sculptures from the Court of Burgundy will debut, along with Big New Field: Artists in the Cowboys Stadium Art Program, celebrating Super Bowl XLV; we will present Art of the American Indians: The Thaw Collection; and we will begin preparations for the much-anticipated exhibition Jean Paul Gaultier: From the Sidewalk to the Catwalk. Throughout all of the developments, challenges, surprises, and crowning achievements, the Museum will continue to develop its collections, create innovative new exhibitions and programming, and pursue community and visitor engagement. With sincere appreciation, I would like to thank all of the Museum’s friends and supporters—the City of Dallas, trustees, staff, volunteers, donors, and members—who enable the Dallas Museum of Art to be a great resource for the public it serves.

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ONSITE ATTENDANCE: 480,100 people visited the Museum ONLINE ATTENDANCE: 594,826 people visited the Museum’s website • 16,562 people visited DallasMuseumofArt.tv 7 director's report

Acquisition highlights

By gift and purchase during the 2009–2010 fiscal year, our collections increased by ninety-four works of art, all of which have enhanced the quality, breadth, and depth of the Museum’s holdings in nearly all areas of the collections. We are grateful to those who provided funds toward purchases or enriched the Museum’s collections through gifts and bequests of works of art, and we appreciate the dedicated support of the Committee on Collections, chaired this year by Margot B. Perot.*

ERNST LUDWIG KIRCHNER Four Wooden Sculptures (Vier Holzplastiken) (recto)/Ice Skater (Schlittschuhläufer) (verso), 1912 (recto)/1929–1930 (verso), oil on canvas, The Eugene and Margaret McDermott Art Fund, Inc., 2010.16.a–b.McD • GUSTAVE CAILLEBOTTE Yellow Roses in a Vase (Roses jaunes dans un vase), 1882, oil on canvas, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Janet Kendall Forsythe, 2010.13.McD • EDOUARD VUILLARD Chestnut Trees (Les marroniers) (design for a Tiffany stained-glass window), 1894–1895, glue-based distemper on cardboard, mounted on canvas, The Eugene and Margaret McDermott Art Fund, Inc., 2010.15.McD

THIS PAGE left to right and following page:

* A full list of acquisitions will be available after June 30, 2011, at DallasMuseumofArt.org.

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GHANA, NSUTA, ASANTE PEOPLES Sword ornament (abosodee) in the form of a lion, c. 1935, cast gold and felt, The Eugene and Margaret McDermott Art Fund, Inc., 2010.2.McD • GHANA, ASANTE PEOPLES Linguist’s staff (okyeame poma), first half of 20th century, wood, paint, and gold leaf, The Eugene and Margaret McDermott Art Fund, Inc., 2010.1.McD THIS PAGE and following page:

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RAGNAR KJARTANSSON The End, 2009, five‑channel video installation with sound, gift of Marguerite Steed Hoffman, 2010.4.a–e, © Ragnar Kjartansson • DAVID ALTMEJD The Eye, 2008, wood and mirrors, DMA/amfAR Benefit Auction Fund, 2009.27.a–k, © David Altmejd • CHARLINE VON HEYL Untitled (3/00), III, 2000, oil on canvas, gift of Kathleen and Roland Augustine in honor of Robert Hoffman, 2010.5, © Charline von Heyl

clockwise from top:

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top to bottom and following page:

LOUIS-NICOLAS VAN BLARENBERGHE and HENRI-JOSEPH VAN BLARENBERGHE The Duke of Penthiévre with Benjamin Franklin on his right side attending the enlistment of his regiment next to his chateau at Rombouillet, 1776, gouache and white chalk on paper, General Acquisitions Fund, 2010.29 CHARLES ROBERT ASHBEE, DESIGNER; Guild of Handicraft, London and Chipping Camden, England, MAKER Two-handled dish and spoon, 1901–1906, silver and chrysoprase, anonymous gift, 2009.54.1–2 GEORGE PAULDING FARNHAM, DESIGNER; TIFFANY & CO., NEW YORK, NEW YORK, MANUFACTURER Vase (for the Pan‑American Exposition, Buffalo, New York), 1901, silver, enamel, citrines, and garnets, Discretionary Decorative Arts Fund, 2009.40

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TIBET Conch shell 19th century Shell, silver, coral, turquoise, silk, and jade Gift of David T. Owsley via the Alconda窶前wsley Foundation, 2009.15.2 INDIA, DECCAN PLATEAU Dagger (qatar) 17th century Inlaid, engraved, and gilded steel Gift of David T. Owsley via the Alconda窶前wsley Foundation, 2009.15.1

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preceding page and this page top to bottom:

AFGHANISTAN, HADDA REGION, GANDHARAN CULTURE Thinking Bodhisattva, 4th–6th century, terracotta, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, Cecil and Ida Green Acquisition Fund, and General Acquisitions Fund, 2010.17 KAMPUCHEA Lingam, 10th–11th century, stone, gift of David T. Owsley, 2010.7 SOUTH INDIA, CHOLA DYNASTY Nandi bull, c. 13th century, granite, Cecil and Ida Green Acquisition Fund and gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, 2010.6

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this page and following page clockwise: BRUCE NAUMAN Untitled (Lead Piece with Wedge), 1968, lead, steel, and paint, anonymous gift, 2009.52, © Bruce Nauman/Artists Rights Society (ARS), New York • LAWRENCE LEE Ghost Rider, 2009, graphite and ink on paper, Lay Family Acquisition Fund, 2009.45, © Lawrence Lee • SARA VANDERBEEK Paris, 2009, digital C‑print, Lay Family Acquisition Fund, 2010.12, © Sara Vanderbeek • MARLO PASCUAL Untitled, 2009, digital C‑print, Lay Family Acquisition Fund, 2010.11.2, © Marlo Pascual

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MEXICO OR GUATEMALA, MAYA CULTURE Eccentric flint with heads of K’awil, the god of royal lineage, c. A.D. 600–900, flint, bequest of Mr. and Mrs. Lawrence S. Pollock, Jr., 2009.26 • MYANMAR (BURMA), ASHÖ CHIN PEOPLE, KHAMAU ETHNIC GROUP Woman’s tunic (phyang), c. 1900–1930, cotton and silk; warp‑faced plain weave with warp stripes and supplementary‑weft patterning, Textile Purchase Fund, 2010.10 • MYANMAR (BURMA), ASHÖ CHIN PEOPLE, UTBU ETHNIC GROUP Tunic with bands of geometric motifs, c. 1890–1930, cotton and silk; warp‑faced plain weave with warp stripes and supplementary‑weft patterning, Textile Purchase Fund, 2009.47 preceding page and this page left to right:

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GUSTAV STICKLEY, THE CRAFTSMAN WORKSHOPS, EASTWOOD, NEW YORK, MANUFACTURER Armchair, designed c. 1903, executed c. 1903–1904, oak, copper, various woods, and leather (replaced), General Acquisitions Fund, 2010.22 • PETER MULLER‑MUNK, DESIGNER The Bamberger Trophy Cup, 1929, silver, gift of Sherry Hayslip Smith, Cole Smith, and Jewel Stern, 2009.51.a–b • ILONKA KARASZ, DESIGNER; PAYE & BAKER MANUFACTURING COMPANY, NORTH ATTLEBORO, MASSACHUSETTS, MANUFACTURER Tea ball and stand, designed 1928, silverplate, The Jewel Stern American Silver Collection, gift of Jewel Stern, 2010.8.a–b • PETER BEHRENS, DESIGNER; M. J. RUCKERT, MAINZ, GERMANY, MANUFACTURER Wertheim‑Modell flatware, designed c. 1902, silver, gift of Dr. William P. Hood, Jr., 2009.32.4.1–3

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left to right: Kampuchea, Bantey Srei style Seated figure in a niche, third quarter of the 10th century, sandstone, gift of David T. Owsley, 2009.53 • GHANA, ASANTE PEOPLES State sword (afena), 1935–mid‑20th century, iron, wood, gold leaf, ray skin, and fiber, gift of Charles and Kent Davis, 2010.3

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CENTER FOR CREATIVE CONNECTIONS: Over 130,000 people visited the Center for Creative Connections (C3) • 835 educational programs in C3 engaged audiences of all ages and backgrounds in a new way • 342 regional and national artists collaborated with C3 throughout the year LIBRARY AND ARCHIVES: 1,359 visitors conducted art research at the Mayer Library • 171 questions about DMA history were answered by our Archivist 24 acquisition highlights

Exhibitions

clockwise from top left:

Members at the opening of the Luc Tuymans exhibition; Two visitors study masquerade costumes in the African Masks exhibition during a Late Night; A family studies one of the many

skeletons in the JosĂŠ Guadalupe Posada exhibition; Children create self-portraits in The Living Room, a temporary C3 space created by artist Jill Foley; Visitors in the Performance/Art galleries

25 exhibitions

Members listen to music from around the world in the All the World's a Stage exhibition; A visitor learns more about impressionism in the Lens of Impressionism reading area

Materials & Meanings May 3, 2008–July 25, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

A Dream Come True: The Dallas Arts District September 25, 2009–January 31, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

American Art 1950s–1970s January 25, 2009–June 6, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

Performance/Art October 8, 2009–March 21, 2010 The exhibition was organized by the Dallas Museum of Art and made possible by a grant from The Dallas Foundation through the Jean Baptiste “Tad” Adoue III Fund. Exhibition support was provided by American Airlines, by the Contemporary Art Fund through a bequest from the estate of Brooke Aldridge in honor of Cindy and Howard Rachofsky and through the gifts of an anonymous donor, Arlene and John Dayton, Laura and Walter Elcock, Amy and Vernon Faulconer, Kenny Goss and George Michael, Nancy and Tim Hanley, Marguerite Steed Hoffman, Suzanne and Patrick McGee, Allen and Kelli Questrom, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and Sharon and Michael Young, and by the Donor Circle membership program through leadership gifts from Nancy and Clint Carlson, Amy and Vernon Faulconer, the Gay and Lesbian Fund for Dallas, Ted and Shannon Skokos, and Donna M. Wilhelm.

Private Universes: Media Works June 14–November 8, 2009 The exhibition was organized by the Dallas Museum of Art and support was provided by the Contemporary Art Fund through a bequest from the estate of Brooke Aldridge in honor of Cindy and Howard Rachofsky and through the gifts of an anonymous donor, Arlene and John Dayton, Laura and Walter Elcock, Amy and Vernon Faulconer, Kenny Goss and George Michael, Nancy and Tim Hanley, Marguerite Steed Hoffman, Suzanne and Patrick McGee, Allen and Kelli Questrom, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and Sharon and Michael Young. Air transportation provided by American Airlines.

C3 Community Partner Response Installation: University of North Texas College of Visual Arts and Design, New Media Program July 12, 2009–January 17, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

All the World’s a Stage: Celebrating Performance in the Visual Arts August 30, 2009–February 28, 2010 The exhibition was organized by the Dallas Museum of Art. Exhibition support was provided by American Airlines. Promotional support provided in part by CBS Radio: KVIL-FM, KLUV-FM, and KRLD-AM, and by Ovation TV. The exhibition was accompanied by a brochure.

The Artistic Furniture of Charles Rohlfs September 20, 2009–January 3, 2010 The exhibition was organized by the Milwaukee Art Museum, the Chipstone Foundation, and American Decorative Art 1900 Foundation. The exhibition was curated by Joseph Cunningham of American Decorative Art 1900 Foundation. The Dallas Museum of Art acknowledges generous support from American Airlines.

The exhibition was accompanied by a brochure.

Peter Doig October 18, 2009–March 28, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

Jacob Lawrence: The Life of Toussaint L’Ouverture December 6, 2009–May 23, 2010 The exhibition was organized by the Dallas Museum of Art. Exhibition support was provided by the Contemporary Art Fund through the gifts of an anonymous donor, Arlene and John Dayton, Laura and Walter Elcock, Amy and Vernon Faulconer, Nancy and Tim Hanley, Marguerite Steed Hoffman, Allen and Kelli Questrom, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and Sharon and Michael Young. Additional support provided by the Donor Circle membership program through a leadership gift from Donna M. Wilhelm. Air transportation provided by American Airlines.

C3 Community Partner Response Installation: Woven Records by Artist Lesli Robertson February 7–July 25, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

26 exhibitions

The Lens of Impressionism: Photography and Painting Along the Normandy Coast, 1850–1874 February 21–May 23, 2010 The exhibition was organized and circulated by the University of Michigan Museum of Art. It was made possible in part by the Florence Gould Foundation, the National Endowment for the Arts, the University of Michigan’s Office of the Provost, and other generous donors. The project featured exceptional loans from the Bibliothèque nationale de France and the Musée d’Orsay. The presentation in Dallas was made possible by Bank of America. Additional support was provided by Texas Instruments, Energy Future Holdings, and the DMA’s Junior Associates Circle with funds raised through An Affair of the Art 2010: Great Impression. Air transportation was provided by American Airlines. Promotional support provided by Metroplex Cadillac, DART, and Kroger.

Young Masters: Advanced Student Art Competition February 26–April 18, 2010 The exhibition was organized by the Dallas Museum of Art. Exhibition support was provided by The O’Donnell Foundation.

Coastlines: Images of Land and Sea April 25–August 22, 2010 The exhibition was organized by the Dallas Museum of Art and was made possible by the generosity of underwriters and supporters of The Art Ball, an annual fundraising event that benefits the DMA. Air transportation provided

by American Airlines. Promotional support provided by Metroplex Cadillac.

Through the Eyes of Our Children: Something Beautiful May 14–August 29, 2010 The exhibition was organized by Preservation LINK, Inc. Additional support provided by the Foundation for Community Empowerment, Dallas Independent School District, Art Conspiracy, Mr. Joseph Dean, Gigantic Color, and the Dallas Museum of Art. Luc Tuymans in Dallas Collections Focus On: Bruce Nauman

by TWO X TWO for AIDS and Art, an annual fundraising event that jointly benefits amfAR, The Foundation for AIDS Research and the Dallas Museum of Art. Additional support provided by the Contemporary Art Fund through the gifts of an anonymous donor, Arlene and John Dayton, Laura and Walter Elcock, Amy and Vernon Faulconer, Nancy and Tim Hanley, Marguerite Steed Hoffman, Allen and Kelli Questrom, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and Sharon and Michael Young and by the Donor Circle membership program through a leadership gift from Donna M. Wilhelm. Air transportation provided by American Airlines.

Mexico 200: José Guadalupe Posada: The Birth of Mexican Modernism June 18–December 26, 2010 Mexico 200: Tierra y Gente: Modern Mexican Works on Paper June 18, 2010–February 13, 2011 These exhibitions were organized by the Dallas Museum of Art. The exhibitions were presented by Bimbo Bakeries USA and BBVA Compass.

Additional support was provided by Northwestern Mutual Financial Network, The Texas Financial Group–Dallas. Air transportation provided by American Airlines. Promotional support provided by Metroplex Cadillac, Univision 23, and Univision Radio: 1270 La Voz del Pueblo and 99.1 Recuerdo.

The exhibitions were accompanied by a brochure.

C3 Community Partner Response Installation: The Living Room by Artist Jill Foley July 27–September 26, 2010 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

African Masks: The Art of Disguise August 22, 2010–February 13, 2011 The exhibition was organized by the Dallas Museum of Art. The exhibition was presented by the Sara Lee Foundation. The Dallas Zoo was a Community Partner. Air transportation provided by American Airlines. Promotional support provided by KVIL 103.7 Lite FM, Radio Disney, and Dallas Child.

Materials Matter: Sculpture Since the 1960s May 23–October 24, 2010 These exhibitions were organized by the Dallas Museum of Art. Air transportation provided by American Airlines.

Texas Sculpture August 29, 2010–January 2, 2011 The exhibition was organized by the Dallas Museum of Art. Air transportation provided by American Airlines

Luc Tuymans June 6–September 5, 2010 The exhibition was organized by the San Francisco Museum of Modern Art and Wexner Center for the Arts, The Ohio State University, Columbus.

Generous support was provided by Bruce and Martha Atwater. Additional support was provided by Carla Emil and Rich Silverstein, and Flanders House, the new cultural forum for Flanders (Belgium) in the United States, and SFMOMA’s Collectors Forum. The presentation in Dallas was made possible

Encountering Space

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C3 Community Partner Response Installation: Living Room by Faculty and Alumni of the Division of Art and the Center of Creative Computation, Meadows School of the Arts, SMU Opened September 25, 2010 These exhibitions were organized by the Dallas Museum of Art. The exhibitions were presented by MetLife Foundation. Air transportation provided by American Airlines.

highlights

TOTAL ACQUISITIONS: The DMA acquired ninety-four objects LATE NIGHTS: Almost 40,000 visitors experienced a Late Night SMARTPHONE TOURS: The most popular files downloaded on a smARTphone tour: African Masks and Lens of Impressionism 27 exhibitions

The Mourners installation at the Metropolitan Museum of Art; A banner advertising The Mourners at the Metropolitan Museum of Art; Two views of the Gustav Stickley exhibition at the Newark Museum

Traveling exhibitions organized by the Dallas Museum of Art Gustav Stickley and the American Arts & Crafts Movement Traveled to: Newark Museum September 15, 2010–January 2, 2011

The Mourners: Medieval Tomb Sculptures from the Court of Burgundy Traveled to: The Metropolitan Museum of Art, New York March 2–May 23, 2010 Saint Louis Art Museum June 20–September 6, 2010 The exhibition was organized by the Dallas Museum of Art and the Musée des Beaux-Arts de Dijon, under the auspices of FRAME (French Regional and American Museum Exchange). The exhibition was supported by a leadership gift from the Iris and B. Gerald Cantor Foundation. Additional support was provided by the Florence Gould Foundation, the Eugene McDermott Foundation, Connie Goodyear Baron, and Boucheron. Major corporate support was provided by Bank of the West–Member BNP Paribas Group. This exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities.

The exhibition was organized by the Dallas Museum of Art. The exhibition was supported by a generous grant from the National Endowment for the Arts and the Henry Luce Foundation. Additional support was provided by DMA patrons and supporters with funds raised through Silver Supper 2010 and from the Donor Circle membership program through leadership gifts by the Gay and Lesbian Fund for Dallas. Publication of the exhibition catalogue was underwritten by the Henry Luce Foundation, the Windgate Charitable Foundation, and the National Endowment for the Arts.

The exhibition was accompanied by an exhibition catalogue published by the Dallas Museum of Art and distributed by Yale University Press.

28 exhibitions

Education During the past year, the Education Division explored new ways to engage visitors through experiments in our programming, new partnerships with artists and other community members, the opening of our second exhibition in the Center for Creative Connections (C3), and the expansion of early learning and access programs.

Visitors enjoy art-making activities during the opening celebration of Encountering Space in the Center for Creative Connections

The exhibition All the World’s a Stage: Celebrating Performance in the Visual Arts provided an opportunity to spark community dialogue about the impulse to create and perform. The Museum invited local artists and performers to write personal response labels for works of art in the exhibition, and community partners such as Dallas Black Dance Theatre, Conte de Loyo Flamenco Theatre, Roger Boykin, area actors, and many others activated a space inside the exhibition called The Stage with regular dance, theater, and music performances and film showings, which were experienced by more than 4,000 people. Inspired by the performance-themed exhibitions on view in the fall, Arts & Letters Live presented Vocal Colors, a multidisciplinary extravaganza featuring twelve performers that wove together song, art, poetry, dance, and drama. The Museum launched a new conversation series, State of the Arts, exploring

the creative process and the nature of performance with local leaders and performers. Moderated by KERA host and producer Jeff Whittington, it stirred lively discussion about collaborative possibilities between artists and Arts District organizations in future years.

As part of the Museum’s commitment to engaging our visitors in dynamic ways, the Museum continued several long-term partnerships. The June Late Night attracted over 5,000 visitors as we continued our partnership with the Nasher Sculpture Center and Crow Collection of Asian Art for our second annual Summer Block Party. It celebrated the exhibition Coastlines: Images of Land and Sea with hula dancers in the street, lectures on surf culture, ukulele music in the galleries, and an outdoor concert featuring surf guitar legend Dick Dale. A six-week partnership with Ovation TV

29 education

allowed summer visitors free admission on Thursday evenings to enjoy the exhibition, galleries, and Coastlines on Film series in collaboration with the Dallas Film Society. We also partnered with our longtime collaborator the University of Texas at Dallas through the creation of a sound installation for the exhibition Coastlines: Images of Land and Sea. Led by professor Dr. Frank Dufour, four graduate students at UT Dallas and nine undergraduate students at the Université du Sud Toulon-Var in Toulon, France, created sonic interpretations for works of art, including both digital and musical compositions. Visitors delighted in the opportunity to hear sound creations that paralleled the visual experiences of the exhibition.

Community partnerships with C3 involved a whole new cluster of people from the area. In January 2010, artist Lesli Robertson beautifully installed Woven Records, a community art project that included 581 personal collages from participants. Partnerships deepened with faculty, alumni, and students at Southern Methodist University's Meadows School of the Arts as they developed and installed a multisensory work of art for the Encountering Space exhibition. In collaboration with Big Thought, seven professional artists and writers from the Dallas–Fort Worth area led SLANT 45 (Service Learning Adventures in North Texas) workshops in C3 designed to teach participants how to reflect on their personal experiences and service learning projects through art. The SLANT 45 project, presented by the North Texas Super Bowl XLV Host Committee, culminated in three art exhibitions prior to Super Bowl XLV. The Center for Creative Connections presented several remarkable projects demonstrating the Museum’s ongoing commitment to creativity and innovation. Artist Jill Foley’s The Living Room bridged the closing of Materials & Meanings in July and the opening of Encountering Space in September. Foley’s gallery-sized cardboard installation was a witty, magical, and social place for learning, interacting, and contributing. New art-making activities were periodically presented, and visitors’ creations were then incorporated into the installation, documenting the wonderful variety of visitors’ experiences.

A benchmark accomplishment, Encountering Space involved a total redesign of the Center, complete with eleven works of art from the Museum’s collections, a new floor plan, and new participatory elements. The exhibition asks visitors to consider how space is used by artists to create depth, dimension, and meaning while also offering areas for visitor participation.

Through the new C3 Visiting Artist program, visitors were able to connect with 342 regional and national artists in the fields of visual art, sound design, installation and performance art, new media, storytelling, architecture, graphic design, photography, spoken word, and dance. Over 130,000 visitors started their journey through the collections in C3 this past year.

In 2010 the Museum expanded its programming for very young children.

Attendance at our monthly free First Tuesday program grew exponentially, with over 13,000 preschool-aged children and their families participating in art-making activities, enjoying tours of the collections, and participating in story time with our Dallas Public Library partners. We piloted a Toddler

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Art class for two and three year olds and created parent classes, tours for preschool groups, and artist-led family workshops. Focusing on visitors with special needs, the Museum’s access programs tripled this year to engage diverse new audiences—children with autism, visitors with vision impairment, and visitors with early stage dementia and their care partners. We partnered with local community specialists, artists, and national advocacy groups to create programs tailored to these visitors’ special needs, from Family Celebrations just for children with autism and their families to the pilot program Meaningful Moments for visitors with Alzheimer’s disease. In celebration of Art Education for the Blind’s Art Beyond Sight Awareness month, we collaborated with John Bramblitt, an artist who is blind, to help visitors experience art through senses other than their vision. We expanded a thriving partnership with Avance, whose mission is “to unlock America’s potential by strengthening families in at-risk communities through effective parent education and support programs,” and provided tools to empower them to teach their families in creative environments.

Through inventive use of technology we created and supported new opportunities for connecting with K–12 teachers. Educators participating in a unique two-part workshop in conjunction with the exhibition The Lens of Impressionism: Photography and Painting Along the Normandy Coast, 1850–1874 experienced first-hand the technology and process of 19th-century wetplate photography with artist-educator Frank Lopez. Using 21st-century technology, staff launched Connect: Teachers, Technology, and Art, a two-year grant project made possible by the Institute for Museum and Library Services. Connect involves an in-depth collaboration with twenty teachers to redesign online teaching materials for the Museum’s African and Asian collections using new scholarship and dynamic multimedia formats. We presented two new communications for K–12 educators this year: the Dallas Museum of Art Educator Blog receives over 1,500 views per month since launching in October 2009, and the Educator E-newsletter is sent to over 2,400 educators monthly.

Visiting artist John Bramblitt talks with children during Summer Art Camp

highlights

TEACHING PROGRAMS AND PARTNERSHIPS: 11,535 DISD 4th graders took tours • Go van Gogh® visited 14,607 students in 713 classrooms • 476 elementary school children strengthened their creative thinking skills through a multivisit afterschool program 30 education

Development

left and above top to bottom: Jazz Under the Stars;

Vice President

Mary McDermott Cook, Executive Director of the Dallas Arts District Veletta Forsythe Lill, and trustee Yolanda Bruce Brooks at the twentyfive-year Arts District celebration; An Affair of the Art: Great Impression; Harry Belafonte, Elizabeth Showers, and Jan Showers at the Two by Two for AIDS and Art benefit event; Emilia Leon, Treasurer Victor Almeida, Karin Larrave, Hugh Mc Fadden, Linda Anderson, and Head of Family Experiences and Community Engagement María Teresa García Pedroche in the José Guadalupe Posada exhibition

31 development

Lifetime Giving The Museum extends its deepest appreciation to the following donors for their lifetime of support, and recognizes their cumulative giving through September 30, 2010, including gifts of art (valued at time of donation).

Grand Benefactors $20,000,000 and above Anonymous City of Dallas Nancy B. Hamon Mrs. Emery Reves* $10,000,000–$19,999,999 Anonymous (2) The Meadows Foundation $5,000,000–$9,999,999 Anonymous American Federation for AIDS and Art Benefit Auction Communities Foundation of Texas The Dallas Foundation Dallas Museum of Art League Cecil H.* and Ida M.* Green/ The Cecil and Ida Green Foundation/ Estate of Ida M. Green Edmund J.* and Louise W.* Kahn Endowment Fund Deedie and Rusty Rose $1,000,000–$4,999,999 Anonymous (4) American Airlines ARCO Foundation Mr. and Mrs. Christopher Bancroft Bank of America Mr. and Mrs. James P. Barrow Mrs. Franklin Bartholow Mr.* and Mrs. Duncan E. Boeckman Mr. and Mrs. Clint D. Carlson Barbara W. and George V. Charlton

Linda and Bob Chilton Mr. and Mrs. James H. Clark Carr P. Collins Foundation, Inc. The Dallas Morning News Mr. and Mrs. Robert H. Dedman, Jr./ The Dedman Foundation Mr. and Mrs. John R. Eagle Exxon Mobil Corporation and Foundation Amy and Vernon Faulconer Mr. and Mrs. Donald S. Freeman, Jr. Pauline Allen Gill Foundation/Mr.* and Mrs.* Roger C. Sullivan Estate of Mrs. J. William Griffith Mr. and Mrs. Bryant M. Hanley, Jr./ The Bryant and Nancy Hanley Foundation, Inc. Hoblitzelle Foundation Mr. and Mrs. Lee Hobson The Hoffman Family Foundation Adelyn and Edmund* Hoffman Marguerite and Robert* Hoffman Mr. and Mrs.* S. Roger Horchow Mr.* and Mrs. Lamar Hunt Mr.* and Mrs. J. Erik Jonsson JPMorgan Chase Fannie W.* and Stephen S.* Kahn/ Estate of Stephen Kahn KOAI–The OASIS KRNB Mary Noel Lamont and Bill Lamont Lay Family Charitable Lead Trust II Barbara Thomas Lemmon Mr. and Mrs. Irvin L. Levy The Edward* & Betty* Marcus Foundation Jeffrey Marcus Nancy Cain Marcus Mr.* and Mrs. Stanley Marcus Mildred R. and Frederick M.* Mayer Foundation Patsy R.* and Raymond D.* Nasher National Endowment for the Arts Estate of James Russell O’Neil Alvin* & Lucy* Owsley Foundation/ David T. Owsley/Alconda-Owsley Foundation

President John Eagle, Silver Supper Chair Mary Ann Cree, Director Bonnie Pitman, and curator Kevin W. Tucker

Josephine Bay Paul and C. Michael Paul Foundation, Inc. Mr. and Mrs. H. Ross Perot/ The Perot Foundation The Pollock Foundation Mr.* and Mrs. C. Vincent Prothro/ Vin and Caren Prothro Foundation Mr. and Mrs. Allen I. Questrom/ The Allen & Kelli Questrom Foundation Mr. and Mrs. Howard E. Rachofsky/ The Howard E. Rachofsky Foundation Mr. and Mrs. William E. Rose Mr. and Mrs. William T. Solomon, Sr. Mr. and Mrs. Paul Stoffel Texas Instruments/Texas Instruments Foundation Tri Delta Charity Antiques Show Mr. and Mrs. Thomas B. Walker, Jr.

Named Endowment Funds Gifts to the endowment are legacies of commitment that create a permanent source of income for the Museum. The Museum Endowment is a collection of individual endowments established by individual donors that support areas of greatest need or the special interest of the donor. For a list of named endowments, see pages 38–40.

The Munger Society The Munger Society consists of benefactors who have included the Dallas Museum of Art in their estate plans through bequests, promised gifts of art, life income gifts, charitable lead trusts, life insurance policies, or retirement plans.

Anonymous (4) Robert Alpert Robert I. Atha Mr. and Mrs. Charles M. Best II Elizabeth B. Blake Frank W. Blue Mr. and Mrs. Daniel D. Boeckman Elizabeth and Duncan E. Boeckman Michal Boothe Mr. and Mrs. Bill Booziotis Mr. and Mrs. Edward O. Boshell, Jr. L. E. Burt Barbara and John A. Buxton Kay and Elliot Cattarulla Barbara W. and George V. Charlton Mr. and Mrs. John Chiles Mr. and Mrs. J. E. R. Chilton James and Carolyn Clark Mrs. Allen B. Cobb Alessandra Comini Sally Copass-Jackson and Hal Jackson* Elizabeth Perry Courville Betty Taylor Cox Karen and Kevin Crowder, Jonathan Crowder Mrs. Robert H. Dedman Mr. and Mrs. Peter J. Denker Ralph C. Disch, M.D. Mr. and Mrs. William C. Estes Jeanne and Sanford Fagadau Mr. and Mrs. Vernon Faulconer Stanley Feld and Cecelia Feld Gayle D. Fogelson Mrs. Harris Kramer Garrett*

Nancy Shutt, Norine Haynes, Laure de Margerie-Meslay, and curator Olivier Meslay at the Lens of Impressionism opening

32 development

clockwise from top left:

Jodie Oliver, Lisa Runyon, John Runyon, Vice President Cindy Rachofsky, and Howard Rachofsky at Art Ball 2010: Coastlines; Trustee Derek Wilson and his son in the Center for Creative

Connections; Trustee Sharon Young and artist Luc Tuymans at the opening reception for Luc Tuymans; John Ford Lacy, Cece Lacy, and curator Heather MacDonald with Carole McNamara, Senior Curator of Western Art at the University of Michigan Museum of Art and curator of The Lens of Impressionism; Catherine Rose, trustee Molly Byrne, and trustee Lucilo Peña at the donors reception for the C3 exhibition Encountering Space

Dean P. Guerin Mr. and Mrs. Jeremy L. Halbreich Nancy B. Hamon Nancy and Tim Hanley Henry H. Hawley III Adelyn Hoffman Marguerite and Robert* Hoffman S. Roger and Carolyn* Horchow Jay M. Ihrig Kathryn Jordan Ellen Lindsey Key Martha McCarty Kimmerling Rollin W. and Mary Ella* King Marten F. Klop Mr. and Mrs. Richard Kramlich

Helen Lansburgh James A. Lathim, Jr. Irvin L. Levy Joy and Ronald Mankoff Mrs. Stanley Marcus Charlene C. and Tom F. Marsh June Mattingly Mr. and Mrs. C. Thomas May, Jr. Mrs. Eugene McDermott Joyce and Harvey Mitchell Marjorie E. Morrice* Jay W. Oppenheimer and Dolph Haas Edwin P. Ornish David T. Owsley Nancy and Jack Penson

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Sidney and George Perutz Bonnie Pitman and David Gelles Harry and Peggy Ploss Charitable Trust Robert G. Pollock Dan Pritchett Allen and Kelli Questrom Cindy and Howard E. Rachofsky Paul Radman, D.D.S. William B. Rodriguez Mr. and Mrs. Gregory J. Rohan Catherine and Will Rose Deedie Potter and Edward W. Rose III Candace Rubin and Sharon Bresin Dr. and Mrs. Armond G. Schwartz Sadie Seay*

Allen Segal, M.D.* Mr. and Mrs. George A. Shutt Jewel Stern Gayle and Paul Stoffel Sandra L. Streng C. J.* and Bunny Thomsen Anne Marie and Tom Walker Suzanne Weaver Karen Erxleben Weiner John G. Wilcox Sharon and Michael Young *Deceased

highlights

DEVELOPMENT: 19,273 households are members of the DMA • Donor Circle members contributed $3.8 million to the Museum • Over 40% of members come to the DMA 4 or more times per year 33 development

Board of Trustees 2009–2010

Fourth grade DISD students touring the Museum

The Board term, June 1, 2009–May 31, 2010, does not correspond with the Museum’s fiscal year.

Victor D. Almeida Christopher Bancroft Dolores Barzune Doris Bass Daniel D. Boeckman Eduardo M. Brittingham Yolanda Bruce Brooks Stuart M. Bumpas Molly L. Byrne Tim Byrne Clint D. Carlson George V. Charlton Dan W. Cook III Mary Cook Edwin L. Cox James F. Crank John W. Dayton Robert H. Dedman, Jr.

Peter J. Denker Claire Dewar John R. Eagle Walter B. Elcock Vernon E. Faulconer Melissa Foster Fetter Beverly Freeman José M. Gutiérrez David J. Haemisegger Jeremy L. Halbreich Nancy B. Hamon Bryant M. Hanley, Jr. Kenneth A. Hersh Ann Hobson Marguerite S. Hoffman Wei Wei Jeang Margaret H. Jordan Linda Kao Mary Noel Lamont George T. Lee, Jr. Barbara Thomas Lemmon Tom Leppert

Irvin L. Levy Katherine Mathes Margaret McDermott Patrick K. McGee Venu Menon Thomas Morgan, Jr. Edith O’Donnell Jay A. Pack Lucilo A. Peña Margot B. Perot Richard R. Pollock Caren Harvey Prothro Kelli Questrom Cindy Rachofsky Curtis E. Ransom Margaret J. Rogers Deedie Potter Rose Daniel Routman Deborah Scott Peggy Sewell Jan Showers Gay Ferguson Solomon

34 BOARD OF TRUSTEES

Ronald G. Steinhart Gayle B. Stoffel Marilyn Willems J. McDonald Williams Derek M. Wilson Sharon Young REPRESENTATIVES TO THE BOARD Debbie Munir Junior League of Dallas Harry Robinson African American Museum Gail Sachson City of Dallas Cultural Affairs Commission

EXECUTIVE COMMITTEE Officers

John R. Eagle President Deedie Potter Rose Chairman of the Board Mary McDermott Cook Vice President Cindy Rachofsky Vice President Linda K. Kao Secretary Victor D. Almeida Treasurer

VOLUNTEERS An Affair of the Art Renne and Bill Lokey Co-Chairmen Lisa and Wayne Moore Co-Chairmen Art Ball Melissa Fetter Chairman Art in Bloom Barbara Bigham Chairman Dallas Museum of Art League Marilyn Willems President

At-Large Members Stuart M. Bumpas Vernon E. Faulconer Melissa Foster Fetter Jeremy L. Halbreich Nancy B. Hamon Bryant M. Hanley, Jr. Margaret H. Jordan Mary Noel Lamont Margaret McDermott Gayle B. Stoffel

The Forum Deborah and John Scott Co-Chairmen Junior Associates Circle Laura Green Co-Chairman Katherine Mathes Co-Chairman

Standing Committee Chairmen Walter B. Elcock Audit Patrick K. McGee Budget & Finance Lucilo A. Peña Building Margot B. Perot Collections Robert H. Dedman, Jr. Compensation & Benefits Nancy Carlson and Sharon Young Development Richard R. Pollock Education, Libraries, & Digital Initiatives Ronald G. Steinhart Investment John R. Eagle Marketing Catherine M. Rose Strategic Planning Marguerite S. Hoffman and Cindy Rachofsky Trustees

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highlights

FAMILY EXPERIENCES AND COMMUNITY ENGAGEMENT: The DMA was named one of the top 10 “Kid-Friendly Art Museums” by Child magazine • The DMA received the 2009 Dallas Child magazine award for “Best Cultural Spot for Families” • The DMA is 2009 and 2010 Nickelodeon Parents’ Pick for Best Art Museum in DFW • Over 13,000 preschool-aged children and their families participated in our monthly free First Tuesday program • Community engagement audiences tripled to nearly 40,000 • More than 6,780 families attended outreach programs in conjunction with Cathedral Guadalupe 35 BOARD OF TRUSTEES

top to bottom:

Deborah Scott, trustee Ann Hobson, trustee and Art Ball

Chair Melissa Fetter, and Eve Reid; The Arts & Letters Live event Vocal Colors; Bob Kilcullen and trustee George Charlton at the twenty-five-year Arts District celebration; Performers in the Arts District during a Late Night

Financial summary

For purposes of brevity, the September 30, 2010 and 2009 financial information presented herein is derived from our audited financial statements. This excerpted information does not include the statement of cash flows or footnotes that are integral to a full presentation of the Dallas Museum of Art's financial position. A complete report of the Independent Auditors is available by writing the Dallas Museum of Art's Development Office.

Statement of Financial Position Year ended September 30, 2010 (with summarized financial information as of September 30, 2009) 2010 Assets

Cash and cash equivalents Investments, at fair value Contributions and bequests, net Other receivables, net Accrued investment income Inventories, net Other assets Property and equipment, net Total assets Liabilities and Net Assets ccounts payable A Accrued expenses Revolving line of credit payable Deferred membership revenue Liability on annuity contracts Note payable Total liabilities Net assets Unrestricted Temporarily restricted Permanently restricted

Total net assets Total liabilities and net assets

36 financial summary

2009

Statement of Activities Year ended September 30, 2010 (with summarized financial information for the year ended September 30, 2009)

Temporarily Permanently Unrestricted Restricted Restricted support, revenue, and reclassifications Contributions, grants, and fees for: Support Appropriations from the City of Dallas Contributed services Exhibition support Contributions Government grants

Revenues Membership Auxiliary activities Education Miscellaneous

Other support and revenue Gifts – other than art Net investment return Realized gain from sale Net assets released from restrictions Total support and revenue

Expenses Collections and exhibitions Education Development and external affairs General and administration Auxiliary activities Additional minimum (asset) liability

Total expenses Change in net assets before change related to collection items not capitalized Collections items sold Collections items purchased Change in net assets Net assets, beginning of year

Net assets, end of year

37 financial summary

2010 Total

2009 Total

Schedule of Endowment Funds September 30, 2010 Endowment Funds include both donor endowments (permanently restricted) and earnings thereon that have not yet been expended for the purposes stipulated by the donor or Board. The Endowment Funds comprise the following as of September 30, 2010:

Total Net Assets

Acquisitions Endowment Funds Cecil and Ida Green Acquisition Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Amelia Lay Hodges Acquisition Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

General Acquisitions Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Roberta Coke Camp Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

African Art Acquisitions Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gayle and Paul Stoffel Fund for Contemporary Art Acquisition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Textile Acquisitions Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Decorative Arts Discretionary Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Otis and Velma Davis Dozier Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Beatrice M. and Patrick E. Haggerty Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

E. E. Fogelson and Greer Garson Fogelson Charitable Foundation Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Charron and Peter Denker Fund for Contemporary Texas Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Theodore and Iva Hochstim Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Texas Artists Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Laura and Walter Elcock Contemporary Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Susan Mead Contemporary Art Acquisition Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mary Margaret Munson Wilcox Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Total acquisitions endowment funds Exhibition, Curatorial, and Conservation Endowment Funds Exhibition Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Hoffman Family Senior Curator of Contemporary Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Modern and Contemporary Sculpture Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Margaret McDermott Curator of African Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pauline G. Sullivan Curator of American Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Cecil and Ida Green Curator of Ancient and South Asian Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Ellen and Harry S. Parker III Curator of the Arts of the Americas and the Pacific Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . .

Melba Davis Whatley Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Nancy and Tim Hanley Associate Curator of Contemporary Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lupe Murchison Curator of Contemporary Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Margot B. Perot Curator of Decorative Arts and Design Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Barbara Thomas Lemmon Curator of European Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lillian Clark Curatorship for Paintings and Sculpture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Conservation Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Rosine Foundation Decorative Art Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Howard and Fanchon Hallam Endowment for Contemporary Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Steven G. Alpert and Family Indonesian Art Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Graham Williford Foundation for American Art Endowment for Art Conservation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Exhibitionists Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Exhibition Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Total exhibition, curatorial, and conservation endowment funds Education Endowment Funds McDermott Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mayer Library Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DMA League Director of Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Questrom Head of Center for Creative Connections Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Office of Digital Archivist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Program Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Education Endowment Fund for Interpretation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pollock Foundation Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mildred R. and Frederick M. Mayer Librarian Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Robert J. O'Donnell Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38 financial summary

Schedule of Endowment Funds –

c o n t i n u ed

September 30, 2010

Total Net Assets

Education Endowment Funds – Continued

The Alex, Charlie, Grey, Jack and Rosey Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gayle Hysinger Endowment Fund for Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Nancy Cain Marcus Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Boshell Lecture Series Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jeffrey A. Marcus Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Rosewood Corporation Teacher Education Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Freeman Family Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Prothro Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Christopher and Sue Bancroft Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

William Randolph Hearst Endowment Fund for Education Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Marilyn R. and Leo F. Corrigan, Jr. Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dr. Anson L. Clark Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Bank of America Education and Outreach Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anne Giles Kimbrough Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Clara and Leo Corrigan, Sr. Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Selma Parrill Children’s Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Andrea Brenner-McMullen Arts Support Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Martha McCarty Kimmerling Fund for Education. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Kay Cattarulla Endowment Fund for Literary and Performing Arts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Albert and Minnie Susman Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

King Foundation Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

JC Penney Teaching Resource Center Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dozier Travel Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Levy Endowment Fund for Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Bromberg Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Brettell Lecture Series Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DeGolyer Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Arthur Andersen Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Collins Lecture Series Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Nancy and Jeffrey Marcus Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Karen and Richard Pollock Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hobson Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Betty Moroney Norsworthy Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Education Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Shirley Phillipson Pollock Internship in Art Librarianship Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Rick and Diana Strauss Special Education Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gateway Gallery Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Print and Drawing Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Total education endowment funds Operations and Other Specified Purpose Endowment Funds

Expansion Campaign Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Family Fund Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Eugene McDermott Director’s Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fannie and Stephen Kahn Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Edmund J. and Louise W. Kahn Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

McDermott Challenge Endowment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

McDermott Garden Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anne Marie and Thomas B. Walker, Jr. Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sarah M. and Charles E. Seay Fund in Honor of Jack R. Munger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NEA Challenge Grant Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Director’s Assistants Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

S. T. Harris Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

General Operations Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ernest and Irene Wadel Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

39 financial summary

Schedule of Endowment Funds –

c on t i n u ed

September 30, 2010

Total Net Assets

Operations and Other Specified Purpose Endowment Funds – Continued

Frank and Binswanger Fresh Flower Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anonymous Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fay and Newt Walker Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DMA League Museum Beautification Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Harry and Ellen Parker Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Shirley Pollock Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Patsy Nasher Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fleischner Courtyard Maintenance Endowment Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Total operations and other specified purpose endowment funds Total endowment funds

Permanently restricted net assets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Temporarily restricted net assets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Less temporarily restricted net assets in plant and collection funds and funds for specified purposes. . . . . . . . . . . . . . . . . . . . . .

Unrestricted net assets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Less unrestricted net assets in plant and collection funds, Art Leagues, and operating fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

A dancer performs in The Stage, a performance space within the exhibition All the World's a Stage

museum

Students contemplate works of art during a UT Dallas Honors Seminar course

highlights

ARTS & LETTERS LIVE: 14,063 people attended Arts & Letters Live events • 75 authors, actors, and musicians participated in Arts & Letters Live • 25,000 people with vision impairments and learning disabilities enjoyed Texas Bound re-broadcasts through Reading & Radio Resource

40 financial summary

President’s Report 2

Director’s Report

On the cover: PAUL SIGNAC Comblat-le-Château, the Meadow (Le pré), Opus 161 1887 Oil on canvas Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2010.14.McD

4 © 2011 Dallas Museum of Art

Acquisition Highlights 8

Exhibitions 25

Education 29

Editors: Bonnie Pitman, Queta Moore Watson, Tamara Wootton-Bonner Contributors: John R. Eagle, Bonnie Pitman, Tamara Wootton-Bonner, Carol Griffin, Brent Mitchell, Eric Zeidler, Joni Wilson, Gail Davitt, Logan Acton, Becky Prince, Linda Lipscomb, Yemi Dubale, Liza Skaggs, Jeremy Hunt, Jeff Guy Copyediting: Queta Moore Watson Photography and Imaging Services: Giselle Castro-Brightenburg, Brad Flowers, Adam Gingrich, Chad Redmon, Jeff Zilm Pages 2, 31 (top right): Photos courtesy Dana Driensky Page 31 (third from top): Photo by Bruno Pages 33 (top left), 35 (top): Photos courtesy Daniel Driensky Design: Dittmar Design, Inc./www.dittmardesign.com

Development 31

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.

Board of Trustees 34

Financial Summary 36

1717 North Harwood Dallas, Texas 75201 214 922 1200 DallasMuseumofArt.org

After June 30, 2011, an expanded version of the annual report, including a complete list of acquisitions, will be available online at DallasMuseumofArt.org.

dallas museum of art

the year in review

2008–2009

the year in review

2009–2010