Rineke Dijkstra: A Retrospective
June 29–October 8, 2012

This video focuses on Rineke Dijkstra's series of portraits of Almerisa, whom the artist met as a child in a refugee center for Bosnian asylum seekers in the Netherlands. Dijkstra and Almerisa each describe the experience of taking their first photograph together and discuss how the series has evolved over the course of Almerisa's life as she grows from a young Bosnian girl into a Dutch woman with her own child.

Dr Maxwell L Anderson, the Eugene McDermott Director of the Dallas Museum of Art, joins KERA Think host, Krys Boyd in a conversation about the release of Anderson's new book, The Quality Instinct.

Floor demonstrates many characteristic elements of Do-Ho Suh's broader body of work. The artist uses installations to integrate his artwork with the architecture of a gallery or public space. He has engaged the tensions between collective action and individual identity in other pieces, using his miniature figures to support a heavy stone pedestal or to form a tremendous screen with their interlocking bodies.

Join Ellen W. Lee, Wood-Pulliam Senior Curator at the IMA; Elizabeth Easton, Director of the Center for Curatorial Leadership; Eliza Rathbone, Chief Curator of The Phillips Collection; and Edwin Becker, Head of Exhibitions at the Van Gogh Museum, for an informal discussion exploring the artists' intriguing experiments with snapshot photography.

Object Lab 4.0's students were asked to create a video Remixing a work from Chipstone's collection. They had free range of the Chipstone Foundation's grounds and objects to illustrate new ways of understanding a historic ceramic. In this video, Adriana Vazquez, Lauren Applebaum and Morgan Anthony examine different contexts that affect the interpretations that can be gleaned from this 18th century ceramic monkey.

When The Icebergs was first exhibited at a Civil War fundraising exhibition, critics hailed it as "the most splendid work of art that has yet been produced in this country." Both sides of the Atlantic thrilled to this dramatic scene, which was based on sketches made by the artist during a month-long chartered boat trip in the North Atlantic, off the Canadian coasts of Newfoundland and Labrador.

Minkisi (sing. nkisi) contain magical substances (“medicines”) that, depending upon the context, are used for protection or devastation. Carved wood human figures like this one hunt wrongdoers in matters of civil law. He is simultaneously chief, doctor, priest, and judge. The figure is studded with nails and blades, which indicate how often it has been used.

This painting shows a sweeping view of a verdant valley from Comblat, a small town in the Auvergne, where Signac spent about six weeks in the summer of 1887. Signac described it in a letter as "a fairy-tale valley enclosed between splendid mountains." He painted outdoors, alarming villagers with his startingly modern images.

At the time, Signac was working directly under the influence of George Seurat, the innovator of neo-impressionism, and painting in Seurat’s laborious and exacting pointillist technique.