The Dallas Museum of Art just uploaded a slew of new shows to the “Future Exhibitions” page of its website. Some were already known — like the heralded, comprehensive retrospective of more than 170 photographs by Cindy Sherman (above, left). The “dazzling” show (says The Wall Street Journal) from the Museum of Modern Art, New York, will be finishing its four-city national tour in Dallas. And the exhibition of Parisian posters opening in October (“Posters of Paris: Toulouse-Lautrec and His Contemporaries“) — that one was known, too.
But now on the calendar, between those two, there’s “Chagall: Beyond Color,” a French exhibition on the works of Marc Chagall — his paintings, ceramics and sculpture — as well as a solo show by Glasgow favorite Karla Black, who has created her first site-specific installation in the United States for the DMA. It’s part of its renewed and expanded Concentrations exhibitions, which, ahem, concentrate on individual, “international, emerging artists.” Black’s most recent works — which are often made of inconsequential, diaphanous and temporary materials — were showcased in the main gallery at this year’s Glasgow International Festival of Visual Art (detail, below left).
The DMA’s other two shows have local connections: “Difference?” draws on the female artists in the DMA’s own collection — Lee Krasner, Dorothea Tanning and others, plus two new works by Tsuruko Yamazaki, recently acquired — to ask if there is anything that distinguishes women artists. “Loren Mozley: Structural Integrity,” on the other hand, concentrates on the Texas modernist (1905-1989) for the first retrospective of his work since 1978 — this one, from the Grace Museum in Abilene. Mozley had a long influence on several generations of Texas artists — having taught many of them when he was in the art department at UT-Austin for 37 years. (“Winter Fields,” below right).