Channel Title: Nasher Sculpture Center Channel Description: Open since 2003 and located in the heart of the Dallas Arts District, the Nasher Sculpture Center is home to one of the finest collections of modern and contemporary sculptures in the world, the Raymond and Patsy Nasher Collection, featuring more than 500 masterpieces by Calder, de Kooning, di Suvero, Giacometti, Hepworth, Kelly, Matisse, Miró, Moore, Picasso, Rodin, Serra and more. The longtime dream of the late Raymond and Patsy Nasher, the museum was designed by world-renowned architect Renzo Piano in collaboration with landscape architect Peter Walker. Our mission from our founders Raymond and Patsy Nasher is to be an international focal point and catalyst for the study, installation, conservation, and appreciation of modern and contemporary sculpture. The Nasher Sculpture Center presents rotating exhibitions of works from the Nasher family collection as well as special exhibitions drawn from other museums and private collections. <video> Finally... Sweater Weather! Description: Even our trees are wearing sweaters! Each year when the weather gets colder, we wrap our Live Oak trees in burlap to protect them from the winter elements. </video> <video> Explore 'Hugh Hayden: Homecoming' with Nasher Assistant Manager of Visitor Experiences Mary Poole Description: Hugh Hayden: Homecoming – September 14, 2024 - January 5, 2025 Best known for his work in the traditions of wood carving and carpentry, Dallas-born, New York-based artist Hugh Hayden builds sculptures and installations that explore the idea of the “American Dream.” Reconstructing familiar things like Adirondack chairs, household furniture, or basketball hoops using wood and other materials, Hayden transforms these signifiers of leisure, family, and athletics into surreal and somewhat sinister objects. Many of his vernacular sculptures are covered in hand-carved thorns or unwieldy branches that imply pain or difficulty to those who try to inhabit them—a metaphor for the fraught pursuit of achievement and status. In other works, Hayden leaves readymade objects intact, only to cover them in tree bark, ultimately concealing recognizable status symbols. Likening bark to both armor and camouflage, Hayden uses it to show how clothing can be similarly deployed as a shield against racial prejudice or as a way of blending in or passing. For his exhibit at the Nasher, Hayden mined the memories of his upbringing in Dallas to create new sculptures that revel in themes of nostalgia, childhood, education, and religion. While these motifs reoccur throughout much of Hayden’s work, sculptures like 'Brush' — a boar-hair-covered play- ground at the center of the gallery— and the bark-covered football uniform in the installation titled 'Blending In' nearby, have personal resonance for the artist. They refer to Hayden’s own memories of the beloved “Kidsville” playground in the Dallas suburb of Duncanville and the years he played football at Jesuit High School. Despite the specificity of these works and others in the exhibition, they are likewise universally recognizable symbols of youth in the collective memory of Hayden’s generation. The style of playground equipment that 'Brush' embodies—made entirely of wood and evocative of treehouses or Medieval forts—was common in the late 1980s and throughout the 1990s, before it was replaced by the industrially fabricated metal and plastic equipment that characterizes most playgrounds today. The pencil-covered kitchen table and chairs titled 'Supper' recalls a dining set that was ubiquitous in suburban kitchens in the 1990s, while the Ikea loveseat, here serving as a pedestal for the display of Hayden’s reclining tool skeleton 'Laure,' could be found in most college dorm rooms in the early 2000s. In each instance, he alters these commonplace objects in ways that complicate and subvert their utility and meaning. Through his uncanny sculptures, Hayden shows us the strangeness in the ordinary and articulates his experience of growing up Black in the American South. 'Homecoming' is a culmination of Hayden’s sculptural vocabulary that he has developed over the past 15 years. Featuring all-new works created specifically for this presentation, it is also the artist’s first solo exhibition in his hometown. Learn more: https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2081?hugh-hayden-homecoming Video Credits: Kayla Oudthone </video> <video> 'Hugh Hayden: Homecoming' at the Nasher Sculpture Center Description: Nasher Curator Leigh Arnold explores Hugh Hayden's solo exhibition 'Homecoming,' which is on view through January 5, 2025. </video> <video> Artwork Highlight: "Cutting Board" by Hugh Hayden Description: In conjunction with the Nasher Sculpture Center’s major exhibition 'Hugh Hayden: Homecoming,' Assistant Manager of Visitor Experiences Mary Poole Driver led us through the exhibition while exploring her own hyperlocal perspective on the artwork. Mary shares her thoughts on 'Cutting Board,' a cafeteria table meticulously covered in hand-carved pencils. The sculpture sits between two large mirrors, creating an illusion of endless space. With sharp pencils serving as a barrier that prevents viewers from approaching, the striking arrangement may evoke a nuanced, and potentially unwelcoming, memory of shared spaces like school cafeterias. For Mary, 'Cutting Board' confronts ideas of community and exclusion, with the pencils transforming the familiar table from a place of gathering into a hostile and anxiety-inducing object. Positioned between the mirrors, the table’s inaccessibility is magnified, suggesting that feelings of alienation are both immediate and infinite. For the full interview, click here: https://www.nashersculpturecenter.org/read-watch/articles/article/id/367 Learn more about 'Homecoming:' https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2081?hugh-hayden-homecoming Video Credits: Kayla Oudthone </video> <video> Explore 'Samara Golden: if earth is the brain then where is the body' with a Nasher Educator Description: Samara Golden: if earth is the brain then where is the body – September 28, 2024 - January 12, 2025 Paulina Lopez, a Gallery Educator at the Nasher, explores the limitless potential in Samara Golden's site-specific installation to connect to visitors from all backgrounds. For nearly 15 years, Los Angeles-based artist Samara Golden has been making installations that create disquieting and disorienting environments. Often populated by individuals, or traces of their presence, these spaces have in the past spoken to experiences of violence and its aftermath, disparities of class, or illness and recovery. Her often mind-bogglingly complex installations, which use mirrors in architectural spaces to create a sense of vast space, can range from seemingly chaotic to quietly seething. While Golden may populate them with figures, she has often focused on other forms, whether office equpiment, hospital beds, or the remains of a meal, suggesting a place recently deserted. Each element is handmade by the artist, who uses such materials as plastics, epoxy, and spray foam to construct a setting both familiar and ill-at-ease in its artificiality. Within the Lower Level Gallery, Golden has created a new installation that presents something of a departure from her previous body of work, which has generally depended upon the structure of an architectural setting as a mental metaphor, which different spatial levels multiplied to a dizzying degree. For the Nasher, visitors instead enter a darkened gallery at the foot of the building's staircase to encounter a seemingly infinite and fantastic space that appears to open up the ground beneathe the museum. The resulting vision evokes a rippling body of water, ranging from the fetid to the paradisical—a place where memories, emotions, and thoughts converge in possibilities encompassing the oceanic reaches of the subconscious, the sensation of floating, suspended, as if in utero, and the enclosing depths that conjure the terror of drowning. Golden has created works for sites as varied as a large gallery with a view of the Hudson River for the 2017 Whitney Biennial; a two-story, brick interior at MoMA PS1, New York; an expansive gallery with a stained-glass window for Philadelphia’s Fabric Workshop and Museum, and a warehouse large enough to the accommodate the towering array that formed her 2022 installation Guts, now in the collection of the Art Gallery of New South Wales, Sydney. In a time when mirrored surfaces often speak to opportunities for selfies and the closed loop of social media, Golden transforms her mirrored environments into mise-en-abyme settings for seemingly infinitely repeated motifs to yield uneasy enchantment and critical reflection. Learn more here: https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2082?samara-golden-if-earth-is-the-brain-then-where-is-the-body </video> <video> 'Samara Golden: if earth is the brain then where is the body' at the Nasher Sculpture Center Description: Explore Samara Golden's site-specific installation at the Nasher with Senior Curator Catherine Craft. </video> <video> Explore 'Hugh Hayden: Homecoming' with Nasher Assistant Manager of Visitor Experiences Mary Poole Description: Nasher Assistant Manager of Visitor Experiences Mary Poole has her own take on Hugh Hayden's exhibition 'Homecoming' as a local Dallasite. </video> <video> 'Hugh Hayden: Homecoming' at the Nasher Sculpture Center Description: Nasher Curator Leigh Arnold looks at Hugh Hayden's use of fairy tale references in his Nasher exhibition 'Homecoming.' </video> <video> Artwork Highlight: "Brush" by Hugh Hayden Description: In conjunction with the Nasher Sculpture Center’s major exhibition 'Hugh Hayden: Homecoming,' Assistant Manager of Visitor Experiences Mary Poole Driver led us through the exhibition while exploring her own hyperlocal perspective on the artwork. Among the pieces in 'Homecoming,' works such as 'Brush,' a rendition of a wooden playground covered in boar hair bristles, stand out for their intricate play between childhood innocence and discomfort. Hayden’s art challenges viewers to reconsider the simplicity of their memories and confront the hidden difficulties of those formative years. For the full interview, click here: https://www.nashersculpturecenter.org/read-watch/articles/article/id/367 Learn more about 'Homecoming:' https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2081?hugh-hayden-homecoming Video Credits: Kayla Oudthone </video> <video> Artist Highlight: Sarah Janke Description: Sarah Janke is a surface designer and founder of a woman-owned textile business. Inspired by the diverse experiences of growing up and living in countries such as India, Romania, and Germany, Sarah draws on the vibrant colors and patterns she encountered during her travels, from the floral neon wallpapers of Romania to the minimalist Scandinavian designs she admired in Switzerland. Her work reflects a deep appreciation for global aesthetics, making her pieces perfect for those looking to add a personal and artistic touch to their home decor. On January 16 from 6:30-8:30 p.m., Sarah will lead a linocut printmaking workshop at the Nasher where participants will create their own unique design and print it on fabrics. Music: Warmth by Massobeats </video> <video> 'Samara Golden: if earth is the brain then where is the body' through a Gallery Educator's eyes Description: Gallery Educator Paulina Lopez explores the limitless potential within Samara Golden's site-specific installation for visitors of all backgrounds. </video> <video> Artwork Highlight: "Heaven" by Hugh Hayden Description: In conjunction with the Nasher Sculpture Center’s major exhibition 'Hugh Hayden: Homecoming,' Assistant Manager of Visitor Experiences Mary Poole Driver led us through the exhibition while exploring her own hyperlocal perspective on the artwork. One artwork titled 'Heaven' depicts featuring an Adirondack chair surrounded and pierced by tree branches. Mary notes how the branches create a sense of obstruction, transforming the chair from comfortable into unnerving. “It made my skin tickle,” she shares, capturing the discomfort the piece instills. The chair is strategically placed at the back of the gallery facing the Nasher’s sculpture garden. “You're forced to stand to move around it, making it impossible to relax and enjoy the splendor of the garden behind it.” Mary points out. She interprets this deliberate inaccessibility as a metaphor for aspirations that are often within sight but out of reach. For the full interview, click here: https://www.nashersculpturecenter.org/read-watch/articles/article/id/367 Learn more about 'Homecoming:' https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2081?hugh-hayden-homecoming Video Credits: Kayla Oudthone </video> <video> 'Hugh Hayden: Homecoming' at the Nasher Sculpture Center Description: Explore some of the central ideas and themes within 'Hugh Hayden: Homecoming' with Nasher Curator Leigh Arnold. </video> <video> Samara Golden: if earth is the brain then where is the body Description: Samara Golden: if earth is the brain then where is the body – September 28, 2024 - January 12, 2025 For nearly 15 years, Los Angeles-based artist Samara Golden has been making installations that create disquieting and disorienting environments. Often populated by individuals, or traces of their presence, these spaces have in the past spoken to experiences of violence and its aftermath, disparities of class, or illness and recovery. Her often mind-bogglingly complex installations, which use mirrors in architectural spaces to create a sense of vast space, can range from seemingly chaotic to quietly seething. While Golden may populate them with figures, she has often focused on other forms, whether office equpiment, hospital beds, or the remains of a meal, suggesting a place recently deserted. Each element is handmade by the artist, who uses such materials as plastics, epoxy, and spray foam to construct a setting both familiar and ill-at-ease in its artificiality. Within the Lower Level Gallery, Golden has created a new installation that presents something of a departure from her previous body of work, which has generally depended upon the structure of an architectural setting as a mental metaphor, which different spatial levels multiplied to a dizzying degree. For the Nasher, visitors instead enter a darkened gallery at the foot of the building's staircase to encounter a seemingly infinite and fantastic space that appears to open up the ground beneathe the museum. The resulting vision evokes a rippling body of water, ranging from the fetid to the paradisical—a place where memories, emotions, and thoughts converge in possibilities encompassing the oceanic reaches of the subconscious, the sensation of floating, suspended, as if in utero, and the enclosing depths that conjure the terror of drowning. Golden has created works for sites as varied as a large gallery with a view of the Hudson River for the 2017 Whitney Biennial; a two-story, brick interior at MoMA PS1, New York; an expansive gallery with a stained-glass window for Philadelphia’s Fabric Workshop and Museum, and a warehouse large enough to the accommodate the towering array that formed her 2022 installation Guts, now in the collection of the Art Gallery of New South Wales, Sydney. In a time when mirrored surfaces often speak to opportunities for selfies and the closed loop of social media, Golden transforms her mirrored environments into mise-en-abyme settings for seemingly infinitely repeated motifs to yield uneasy enchantment and critical reflection. Learn more here: https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2082?samara-golden-if-earth-is-the-brain-then-where-is-the-body </video> <video> Artwork Highlight: "Made in Heaven" and "Force Field" by Hugh Hayden Description: In conjunction with the Nasher Sculpture Center’s major exhibition 'Hugh Hayden: Homecoming,' Assistant Manager of Visitor Experiences Mary Poole Driver led us through the exhibition while exploring her own hyperlocal perspective on the artwork. On opposing walls within the gallery, two works within the exhibition allude to queerness: Made in Heaven and Force Field. Mary dissects the material and composition of each work to investigate underlying messages about intimacy, gender, and political and racial history. For the full interview, click here: https://www.nashersculpturecenter.org/read-watch/articles/article/id/367 Learn more about 'Homecoming:' https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/2081?hugh-hayden-homecoming Video Credits: Kayla Oudthone </video>

Contacts and Links

Description

Open since 2003 and located in the heart of the Dallas Arts District, the Nasher Sculpture Center is home to one of the finest collections of modern and contemporary sculptures in the world, the Raymond and Patsy Nasher Collection, featuring more than 500 masterpieces by Calder, de Kooning, di Suvero, Giacometti, Hepworth, Kelly, Matisse, Miró, Moore, Picasso, Rodin, Serra and more. The longtime dream of the late Raymond and Patsy Nasher, the museum was designed by world-renowned architect Renzo Piano in collaboration with landscape architect Peter Walker.

Our mission from our founders Raymond and Patsy Nasher is to be an international focal point and catalyst for the study, installation, conservation, and appreciation of modern and contemporary sculpture.

The Nasher Sculpture Center presents rotating exhibitions of works from the Nasher family collection as well as special exhibitions drawn from other museums and private collections.

Videos from channel