Dallas Museum of Art Bulletin, Spring 1984 Page: 7
29 p. : ill. ; 26 cm.View a full description of this periodical.
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An Unexpected Tribute
Rich l ( )o lcnburgi lr.. I Euene ,\ I )Ctrn tt, and \r. j )hn 1).
Rockefeller III
Remarks by the Architect
A few words about the Museum' Building Committee
- my client. These last seven years have been among the
most pleasant of my professional career. I remember so
well the early meetings with John Murchison, and I re-
member vividly all the other committee members over
the years and how they expressed their opinions. Tonight
I must mention two chairpersons - Margaret McDermott
and Vince Carrozza. Both led the committee at critical
periods, and both were the right person in the right place
at the right time.
Last, and absolutely not the least is Harry Parker, the
man who held it all together, who directed the whole
process for all this time. All of us who have worked with
Harry know his energy, intelligence, political savvy, artistic
taste, and boundless enthusiasm. He has been a superb
leader.
Edward L. Barnes
1/19/84No evening so well planned should end without an
unscheduled event. Therefore, I stand to toast this new
Museum and its founders on behalf of the American
museum directors throughout the country
I am Henry Hopkins, Director of the San Francisco
Museum of Modern Art, and an adopted Texan. When I
was Director of the Fort Worth Art Museum, I was told by
Betty Blake that I needed to be there for five years before
I could be considered a Texan. I stayed for five and one-
half years, so I speak from a position of brotherhood.
There is much to be applauded. The fact that two
previous Directors, Jerry Bvwaters and Merrill Rueppel,
are here this evening implies that the work of building a
museum is the result of the efforts of many The fact that a
fine painting by Jerry Bwaters now hangs in the galleries
along with works by Georgia O'Keeffe and Dove, and that
the works by several young Texas artists of growing
national reputations, such as Vernon Fisher and James
Surls, are now hanging alongside works by Kelly and
Kline, implies an ongoing commitment to the art of the
region. It is a real treat to see the great painting by
Rauschenberg, also a native Texan, hanging in the apse of
Ed Barnes' monumental vault. It is every bit as impressive
as the Romanesque chapel installation at the end of Louis
Kahn's vault in the Kimbell in Fort Worth. It is wonderful
to walk into a general art history museum and to be
confronted first by great contemporary works than by the
echoes of Greece and Rome.
Texas is incredible. In twenty years art museums serv-
ing a lively public have sprung-up or expanded in
Houston, Austin, San Antonio, Amarillo, Tyler, Beaumont,
Corpus Christi, Fort Worth, and now this true achieve-
ment in Dallas.
Steve Nash, the curator who supervised the excellent
installation, you are to be applauded. Harry Parker, the
Director, you are to be admired. Ed Barnes, you have
become the master of living museum architects. And
Dallas, you are to be adored. I know that word is difficult
to sustain in your macho image of yourself, but adored
nonetheless. All hail!
Henry Hopkins
Director
San Francisco Museum of Modern Art
1/19/84Tl,
Paul Rodgers I lais, l enr\i 1lopkins, and Ehzabeth Blake
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Dallas Museum of Art. Dallas Museum of Art Bulletin, Spring 1984, periodical, Spring 1984; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth224954/m1/9/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Dallas Museum of Art.