August 11-12, 2019: "Monet: The Late Years" at the Kimbell Museum
	May 10-26, 2019: A Trip to Fort Lauderdale
	Return to the Index for 2019

Steve Friedman's Mom is here in Dallas from Florida for a visit, and Steve thought she would like to see the Dallas Museum of Art, as well as the new Klyde Warren Park downtown. So this Tuesday, I am meeting the two of them for a visit to the Dior Exhibit that is currently at the DMA.

Getting to the DMA

I drove from the house down towards the Symphony Center, and found some streetside parking a few blocks north of the DMA- right by the Dallas Federal Reserve.

I walked the couple of blocks down to the top of Klyde Warren Park- the park built atop the covered-over Woodall Rogers Freeway. I walked southwest through the park.

When I got to Olive Street, I crossed S. Woodall Rogers so I could walk by the Nasher Sculpture Garden to the DMA. At the intersection of S. Woodall Rogers and Olive, I stopped to take a picture of some of the new construction that has gone up on the north side of the now-sunken expressway. Downtown Dallas has been rapidly transforming for some years now, driven at least in part by the expansion of the Arts District.

Betty and Steve Friedman

I walked another block southwest and then down to the entry to the DMA, where I found Steve and his mother had just arrived and were admiring the beautiful mosaic wall that shields the entrance of the DMA from the expressway. (Now that Klyde Warren Park is there, the shield isn't really necessary, as you can hardly hear the traffic underground, but I assume the mosaic is too beautiful to get rid of.

Before we went into the DMA, we shared some picture-taking duties:

We headed into the DMA and got our tickets for the exhibition. Steve is a member and I had a coupon, so the exhibit didn't cost us anything. We picked up our exhibition booklets (from which much of my explanation below is drawn) and headed into the exhibit.

Dior: From Paris to the World

For the past seventy years, the fashion house founded by Christian Dior in 1947 has been the ultimate symbol of Parisian haute couture. With his first collection, the revolutionary "New Look", Dior established the iconic silhouette of the postwar era. His unique style, inspired by art and culture, celebrated the triumphant return of femininity. His vision of clothing based on strong, architectural lines resonated in a world rebuilding itself from the ground up after the devastation of World War II.

A pioneer in the globalization of fashion, Dior built an empire that reached around the world. Six designers have succeeded him since his death in 1957. Yves Saint Laurent, Marc Bohan, Gianfranco Ferre, John Galliano, Raf Simons, and the current artistic director, Maria Grazia Chiuri. Each has added his or her own personal stamp while paying homage to Christian Dior's legacy of original and refined fashion that wants above all "to make women happier and more beautiful".

I think it will be helpful to show you the diagram from our Exhibition Guide. The exhibition is a series of rooms. The first room you pass through on entry is an introduction to Dior's revolutionary "New Look". Next, to the left, are two rooms with an open space between them that are devoted to the seven creative directors of the fashion house. In the middle, in a long room entered from the back and reminiscent of a "runway", are a selection of Dior's personal creations "Ladies in Dior". Finally, on the right, are two more rooms dedicated to the technical aspects of the fashion house's creations- "Total Look"/"Legendary Photographs" and "Fields of Flowers".

Visitors to the exhibit first move through an entry hall, the purpose of which is to introduce the visitor to the "revolutionary new look" created by Dior when he began the fashion house.

On February 12, 1947, Christian Dior presented his first collection. "It's quite a revolution, dear Christian. Your dresses have such a new look!" declared Harper's Bazaar editor Carmel Snow. Dubbedd the "New Look" by the press, it created a worldwide sensation. In reaction to the boxy, masculine silhouettes of wartime fashion, Dior reconstructed the female figure as a succession of curves, with rounded shoulders, a generous bust, a tiny waist, and accentuated hips. The collection's two main lines, the Corolle (Flower Shape), with its full skirt, and the En 8 (Figure 8), with its narrow skirt, set the stage for fashion in the 1950s. The Bar suit (shown in the left-hand picture below with the nipped white jacket) became the manifesto of a new style that Dior called the "flower-woman."

Not everyone applauded this pioneering vision. In France, England, and the United States, protesters denounced its wasteful luxury in a period still marked by wartime austerity. The New Look was also condemned for its sensual silhouette and, at the same time, for covering up the female leg with long skirts. Despite these criticisms, the style prevailed because it responded to a longing for bygone glamour. The New Look as been a source of inspiration for Dior's successors ever since.

The Corolle

The En 8

As you can see from the exhibit diagram, the path that visitors follow takes them first to an open area called "The Office of Dreams". This area, dividing the two rooms showcasing the artistic directors of the House of Dior, was more devoted to the process of creating one of the house's signature looks.

From his studio, which he called the "office of dreams", Christian Dior managed his fashion house like an orchestra conductor. Before every collection, Dior drew hundreds of sketches, which were transformed into toiles, or mock-ups in plain cotton muslin (a collection of which were mounted on one wall and are shown at left), and shown to Dior and his core team- Marguerite Carre, Raymonde Zehnacker, and Mitzah Bricard- on perfectly proportioned models. Madam Carre, head of the ateliers (workshops), would ask the designer, "Have I expressed you correctly?"

Once approved, the toile, laid out flat, became a pattern for a prototype cut from fabric chosen by the designer. During the final fittings, trim and accessories were chosen, and the corder in which the dresses would appear in the show was determined.

The ateliers in the upper floors of the house are still divided between the atelier tailleur, for structured garments, coats, and jackets, and the atelier flou, for dresses and draped garments, and a complex process still guides the passage from sketch to prototype. After the look is presented on the runway, the director of couture receives clients at Avenue Montaigne. Clients place their orders and the dresses are made to measure in the ateliers.

On the left side of the exhibit (as you come in) the seven creative directors of the House of Dior were each profiled- four in the first room and three in the second, front to back. In between was a part of the exhibit entitled "Office of Dreams" which talked more about the process of moving a creation from the drawing board to finished product. The first four of the creative directors were profiled in the first room- Dior, Saint Laurent, Bohan, and Ferre.

A Dior Creation

The First Room of Creative Directors (Mouseover Image if Video Controls Not Visible)

The Great Depression devastated the family fortune, and in 1935 Dior took up fashion illustration to support himself. His success led to design positions with major couturiers and in 1946 textile magnate Marcel Boussac provided the financial backing that enabled him to open his own couture house at 30 Avenue Montaigne. In th eprime of his career, Christian Dior died suddenly on October 25, 1957. His legacy has continued under the artistic direcctors who have succeeded him.

Yves Saint Laurent

In July 1960, Saint Laurent's "Beatnik" collection referenced street styles, pop culture, and Hollywood films. The Chicago ensemble took its cue from the rebel biker immortalized by Marlon Brando in The Wild One. Disoriented by its radicalism, the house's clientele didn't respond to the collection. Saint Laurent left Dior and founded his own couture house in 1961.

Marc Bohan

In the 1980s, Bohan expressed th enew status of the modern career woman in a suit with a pencil skirt, belted waist, and padded shoulders. He drew inspiration from the art world, especially American Abstract Expressionism and notably Jackson Pollock's drip paintings, exemplified by the artist's early masterpiece Cathedral. In Bohan's twenty-nine years at the helm of Diro, he saw himself as the guardian of classic elegance, both understated and in step with the times. He dressed Princess Grace of Monaco and her daughters, Caroline and Stephanie, and accompanied them to social events. Exclusive fabrics, subtle colors, embroidery, and exceptional fit were the hallmarks of his style.

Gianfranco Ferre

Ferre's arrival at Dior in 1989 coincided with a revival of haute couture, which had been overshadowed in the 1970s by the emergence of pret-a-porter, or ready-to-wear. Many of couture's craftspeople and suppliers had disappeared over the previous decades, and the press now celebrated the survivors as "masters in the shadows". Ferre gave their work pride of place in his spectacular, richly embellished collections.

Moving back across the "Office of Dreams" exhibits, we found the other three creative directors in a room at the back corner of the overall exhibit.

John Galliano

(Click on Thumbnails to View)

Before each collection, Galliano visited other countries and filled scrapbooks with objects, photos, and collages from his travels. Ideas emerged from a mix of inspirations across time and space. The extraordinary lives of women such as Austria's Empress Elisabeth (nicknamed "Sisi") and eccentric Italian heiress Luisa Casati generated storylines for his collections. Arturo Martini's portrait of Casati as a Renaissance soldier-prince in a costume by Leon Bakst, on view here, provided the impetus for Galliano's glittering fantasy armour. He achieved rock-star status at Dior, where his flamboyant appearances became the eagerly awaited climax to every show. Departing from the House of Dior amid controversy in 2011, Galliano represented an era of unparalleled creative excess.

Raf Simons

In the foreground of the picture at right is Simons's "look 54", shown in the Spring-Summer 2015 Show. It is a colorful two-piece dress woll crepe top with pleated silk skirt embbroidered with ribbons.

Simons was uninterested in the celebrity culture of fashion. "I want to get away from couture just being done for a picture or for a single moment on the red carpet," he said. The architecture of the garments took center stage, dramatized by Simons's signature color blocks and punctuated by delicate embroidery. He drew inspiration from great moments in art history: Flemish painting, Impressionism, Pointillism, abstract art, and mid-century modernism. In an exemplary collaboration with American artist Sterling Ruby for the Fall-Winter 2012 collection, Simons used chine, a complex 18th-century process of dyeing individual threads, to produce fabrics based on Ruby's paintings.

Maria Grazia Chiuri

Her debut Spring-Summer 2017 collection, a modern fairytale presented in an enchanted, labyrinthine garden, evoked the passage of the seasons and the metaphor of the "flower-woman" dear to Christian Dior. Her second show revisited the 1947 New Look through the lens of an imaginary voyage around the world. The Spring-Summer 2018 show explored the roots of Surrealism, with a focus on American photographer Man Ray and the female Surrealist Leonora Carrington, while Fall-Winter 2018 was devoted to the skills of the atelier. Her vision of haute couture, she says, is one of "timelessness, which was central for Dior and keeps couture wearable. It's important to me to create a dream, while also remaining realistic."

The next section of the exhibit was a long room, entered and exited from the "back", that showcased a large number of creations from the House of Dior under its various creative directors. The room was reminiscent of a runway, as you entered at the back, worked your way along the left side to the front, and then turned as a runway model would do and walked along the other side of the room to leave at the back.

The Runway

Ladies in Dior

I have to admit that save for the fact that most of the fashions on display in this central part of the exhibit were more or less above you, walking through that room was indeed reminiscent of what a model might feel like. At the "beginning" of the "runway", in niches ascending to the ceiling, was a portion of the exhibit entitled "Ladies in Dior". Women adopted the Dior style from the moment it debuted, although few could afford haute couture. The most enthusiastic were American socialites and performers.

One client, Elizabeth Firestone, selected a complete wardrobe every season, but had the color of the outfits changed to her favorite shade of blue. Grace Kelly dressed in Dior for the announcement of her engagement to Prince Rainier of Monaco and remained loyal to the label for her day and evening outfits. Actresses Maria Felix and Marlene Dietrich opted for sophisticated styles that signaled their star status. Josephine Baker, a sensation in Paris from the 1920s, favored Dior's more extravagant creations, like the strapless mexique gown with its gold-sequined petals. Marilyn Monroe appeared in a black backless Dior dress in her final photo shoot.

Today, the red carpet has become a substitute for the catwalk, where celebrities like Charlize Theron, Jennifer Lawrence, Natalie Portman, Rihanna, and Lady Gaga help carry on the wish of Christian Dior, who said, "My dresses make a princess of every woman."

Click on the Image Above to View the Slideshow

Special collections were created for different markets in Europe, the United States, North Africa, and Asia. In 1959, Princess Michiko of Japan commissioned the House of Dior to design three dresses incorporating Japanese influences for her wedding.

For Dior's successors, world art and cultures have been an endless source of inspiration. References range widely. Seville and the Spain of Goya, the monuments of Paris, England and fox hunting, the Japanese kimono and cherry blossoms, sumptuous Chinese silks, the art of Africa's Maasai people, ancient Egypt, the skyscrapers of New York, the madonnas of Latin American churches, and the colorful traditional clothing of Peru and Mexico.

It wasn't easy to get good pictures in this part of the exhibit (or anywhere, for that matter, as flash wasn't allowed) because the sides of the walkway were narrow and to stop for long would hold up the line of people. But I did get quite a few pictures of some of the fashions on display, and you can click on the image at left to open up the slideshow of those pictures. When the slideshow opens, you can click on the little arrows in the lower corners of each picture to go from one to the next, and use the index numbers in the upper left to track your progress.

We exited at the back, where we'd come in, and then worked our way over to the right side of the exhibition. In the back "room", we passed a wall full of legendary photographs. The Christian Dior years coincided with the golden age of fashion photography, distinguished by such masters as Richard Avedon. The famous Avedon photograph of the model Dovima with elephants exemplifies the same grace of the body in motion as Dior sought to express through refined cuts and skilled draping.

During the period from the 1960s to the 1980s, a new generation of photographers emerged who had a more irreverent and futuristic style. In the decades that followed, the expressive, individualistic images of even newer photographers generated new respect for fashion photography as an art form. At the same time, the first Dior retrospective was held at the Musee des Arts Decoratifs.

Total Look Click on any of the individual colors to see a closer view of that part of the display.

From hats and shoes to makeup and perfume, Christian Dior offered women a "total look." He expanded his business to an unprecedented level, licensing specialized companies to manufacture products under the fashion house's control. Dior wanted "a woman to be able to leave the boutique dressed [by Dior] from head to toe, even carrying a present for her husband in her hand."

A selection of lipsticks provided matching lip color for every dress. Shoes and jewelry were created in collaboration with the very best designers and artisans. The same spirit extended to Dior's packaging and display. These items all mirrored the house's iconic palette, dominated by pink, the color of youth and happiness, and red, the color of life, as eemplified by the show-stopping dresses known as "Trafalgars," made to astonish audiences halfway through a presentation. With his total look, Dior pioneered the globalization and branding that still characterize the world of fashion today.

In the area between the two rooms on the right side were two exhibit areas. The first, entitled "Dallas and Beyond" told of the relationship between Christian Dior and Neiman-Marcus. In 1947, Christian Dior came to Dallas to accept the prestigious Neiman Marcus Award for his distinguished contribution to fashion. (Yves Saint Laurent received this same award in 1958 while at the House of Dior.) Although Dior was well traveled in Europe, this was his first intercontinental voyabe. "To reach Dallas, Texas, I had to cross the ocean and enter the New World," he recalled in his 1957 autobiography. Journalists reported on the visiting fashion celebrity and his sensational New Look. Dior's brief time in Dallas was filled with fanfare- the award ceremony took place in the central hall of the Neiman Marcus store with thousands of people in the audience. The visit sparked a lifelong friendship between Dior and Stanley Marcus. Marcus, an amateur photographer and major supporter of the Dallas Museum of Art, captured moments with the designer relaxing at home. Their camaraderie reesulted in Dallas hosting the only American show of Dior's 1954 H line collection, from which several garments are included here.

Splendors of the 18th Century (1)

On the opposite side of this area were 12 garments under the rubric of "Splendors of the 18th Century". Here, the guidebook identified each garment, and I have both marked them and included their descriptions here. I have two pictures of this exhibit, and have picked the best view of each garment.

After the dark years of World War II, Christian Dior wanted to bring the flamboyance of 18th-century France into modern life. He reached back to memories of his idyllic childhood in Paris and the seaside town of Granville, where the family homes were decorated in the Neoclassical style. In the Paris mansion Dior asked artist Victor Grandpierre to createe an airy, luminous, and elegant interior. The DMA has brought a painting from its collection to recall this ambience.

(A) Fontainebleau 1954- Long embroidered faille evening gown (Dior)
(D) Untitled 1959- Faille coat and dress (St. Laurent)
(F) Look 30 2009- Embroidered faille dress (Gailliano)
(G) Look 28 2011- Silk and embroidered shaded tulle dress (Gailliano)
(H) Look 53 2012- Three-quarter-length embroidered organza dress (Simons)
(J) Look 06 2014- Embroidered silk faconne dress (Simons)

Splendors of the 18th Century (2)

Dior's successors have continued to borrow from the 1700s, finding inspiration in sumptuous court dresses with corsets and side hoops, ornate open robes, and the simple frocks in which Queen Marie Antoinette played shepherdess.

(A) Fontainebleau 1954- Long embroidered faille evening gown (Dior)
(B) Soiree romantique 1955- Embroidered short evening dress (Dior)
(C) Helvetie 1956- Organdy dancing dress overlaid with tule embroidered with small beads, chenille, lace ribbon, and sequins (Dior)
(E) Look 27 2004- Hand-painted satin dress (Gailliano)
(I) Look 04 2014- Embroidered silk faconne dress (Simons)
(K) Look 37 2014- Embroidered wool coat, wool sweater, and pants (Simons)
(L) Look 39 2014- Embroidered broadtail coat, wool sweater, and pants (Simons)

The last area of the exhibition was entitled "Fields of Flowers". "After woman, flowers are the most divine creations," said Christian Dior, whose love of beautiful dresses was equaled only his passion for gardening. As a child, he would study seed catalogs and delighted in planning the flowerbeds with his mother at their seaside home in Granville.

The Selection of Dresses in the "Fields of Flowers" Exhibit

One of his many lucky charms, lily o fthe valley became his signature flower. The paintings of the impressionists, especially Monet, inspired floral embroideries reminiscent of armfuls of meadow flowers. The vibrant surfaces of impressionist canvases, evocative of the effects of light, became a multitude of layered petals. Later creative designers drew on this same floral motif, and some of their creations are in this exhibit as well.

Here are closer views of most of the dresses in this exhibit (generally left to right from the above panorama):

Left to right (the fourth dress is behind the third one):

Miss Dior 1949- Short silk evening dress embroidered with flowers (Dior)
Untitled 1953- Embroidered organza afternoon dress (Dior)
Untitled 1953- Silk satin dress with cut-velvet roses (Ferre)
Fête au village 1955- Organdy strapless dress with embroidered ruffles (Dior)
Rose rose 1956- Printed silk jacket, top, and pleated skirt (Dior)

Left to right:

Rose rose 1956- Printed silk jacket, top, and pleated skirt (Dior)
Comédie 1958- Silk satin short evening dress (Saint Laurent)
Abricotine 1959- Printed faille early evening dress (Saint Laurent)

Left to right (The first dress is repeated from the above picture, and the second is behind that and hard to see. The two women are not part of the exhibit.):

Abricotine 1959- Printed faille early evening dress (Saint Laurent) Barbizon 1962- Painted chiffon wrap day dress (Bohan)
Kitu 1997- Long mermaid line taffeta dress with large painted organza flowers, beaded bodice inspired by Maasai culture (Galliano)
Canicule 1992- Printed taffeta ensemble: embroidered dress and quilted jacket (Ferre)
Hellébore 1995- Long printed organza satin dress, bustier embroidred with beads, sequins, and feathers (Ferre)

Left to right:

Ermite du gazon 1996- Printed chiffon dress embroidered with grass stalks (Ferre)
Look 03 2009- Embroidered mohair bouclette coat (Galliano)
Isadora Duncan 1997- Long mermaid-line organza and taffeta evening gown (Galliano)
Look 14 2010- Braided mohair and organza dress (Galliano)

Left to right:

Look 22 2010- Embroidered organza dress and raffia belt (Galliano)
Look 47 2012- Chiffon-embroidered organza evening gown (Ferre)
Look 37 2015- Cotton guipure bustier evening dress (Simons)

Left to right:

Look 06 2015- Printed faille coat (Simons)
Look 37 1955- Embroidered short evening dress (Dior)
Danse des fleurs 2017- Tulle cape and dress embroidered with flowers (Chiuri)
Essence d'herbier 2017- Fringed cocktail dress embroidered with raffia (Chiuri)
Mémoire d'été 2017- Tule ball gown embroidered with poppies (Chiuri)

The Dior exhibit was visually stunning, although not being a fashion maven most of the terminology (and the purpose behind some of the designs) was lost on me. I've never quite understood how the fashion houses and their original creations can be supported totally by those wealthy enough to purchase them, but support them they do.

Other Galleries in the DMA

Since we were in the DMA already, we thought we would get a bit of lunch and then take in some of the other galleries.

Betty Friedman in the DMA Lobby

The Dallas Museum of Art (DMA) is an art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District. The new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal.

A Museum Piece in the Lobby

The museum collection is made up of more than 24,000 objects, dating from the third millennium BC to the present day. It is known for its dynamic exhibition policy and educational programs. The Mildred R. and Frederick M. Mayer Library (the museum's non-circulating research library) contains over 50,000 volumes available to curators and the general public. With 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States.

We noticed that there was another exhibit going on in one of the museum's many galleries- an exhibit of works by the artist Jonas Wood, born 1977, and a contemporary artist based in Los Angeles. Raised in Boston, raised by "art-inclined parents", and surrounded by his grandfather’s art collection, he eventually obtained a BA in psychology and a Masters of Fine Arts degree. Shortly after graduating, Wood moved to Los Angeles, where he worked as a studio assistant for two years for painter Laura Owens and then another two years for sculptor Matt Johnson. While working as an assistant, Wood continued to make his own work.

During his student years, he explored making collage-like works based on montaged photographs that he took of himself, his friends, and their surroundings. Wood now paints from studies (collages and drawings) and sometimes uses photography, but most of his works and studies are part of the larger plan of creating paintings. Wood states, "I work from photos. I collect photos, ones I’ve taken or I’ve appropriated or that other people have sent to me. And then I either make a collage of those things or work directly from photos. And a bunch of times, I’ll make a drawing from a found photo, a photo collage, or photo I took, and then make a painting from that drawing."

Wood's studio is filled with the objects that influence his work, such as his children's drawings, plants, vessels, and sport memorabilia. An example of this includes a giant basketball sculpture by Paa Joe. He also works in close proximity to his partner, Shio Kusaka, whose work he appropriates and collaborates with. Wood's influences are also auditory, as he tends to listen to basketball podcasts while he works.

A New York Times article by Janelle Zara states, "the studio is where Wood culls various photographs from the internet or his own archive and uses them as source material for his paintings". The appropriated imagery is organized in labeled folders in his studio to be physically accessible during his painting process. The images are printed out and pinned onto walls, then flattened and distilled into blocks of color. Wood then layers these "dense graphic patterns, overlapping fields of stipples and stripes, circles, squares, dots and wood grains".

Jonas Wood’s paintings, drawings, and prints can be described as a myriad of genres, such as domestic interiors, landscapes, still-life and sports scenes. Translating the three-dimensional world around him into flat color and line, he confounds expectations of scale and vantage point that reflect an instantly recognizable vision of the contemporary world.

Click on the Image Above to View the Slideshow

As we walked through the exhibit, I photographed a number of the works that I found particularly colorful or interesting (but certainly not all of them), and I also photographed the small descriptive plaques for those works. I have created a slideshow of images that juxtapose the work itself with the descriptive plaque, and I hope you will have a look. Just click on the image at right and the show will open in a new window. As always, use the little arrows in the lower corners of each slide to move from one to the next, and track your progress with the index numbers in the upper left. When you are done, close the slideshow window to return to this page.

In an Architectural Digest story by Rebecca Bates, Wood claimed to paint to create new memories of his former residences: "I'm interested in exploring the spaces that I’ve inhabited and the psychological impact they've had on me and my memories of them,...And then I can create a new memory of that space." The result is the perception that his work is very sincere.

Wood's style is described as multidimensional. One critic describes him as working "With one foot in Modernist cool and the other in vibrant Pop Art". Similarly, Artspace describes his work as if he works "With one foot rooted in Analytic Cubism and the other in Contemporary Pop art". In The Huffington Post Wood is described in reminiscence of classic masters: "Although Wood pays homage to Van Gogh along with other abstract colorists like Matisse, Picasso and Keith Haring, his works are decidedly modern... Both steeped in tradition yet completely fresh, Wood captures the impossible sharpness of modernity with the familiar feelings of home." Roberta Smith of The New York Times notes that "his works negotiate an uneasy truce among the abstract, the representational, the photographic and the just plain weird."

Around Klyde Warren Park

You've seen Klyde Warren Park a number of times on earlier album pages; it is the relatively new downtown park that was built atop the newly-covered Woodall Rogers expressway. It occupies three blocks alongside the Dallas Arts District. It is basically a large open area with restaurants and food trucks on both sides.

Looking Northwest Across Klyde Warren Park towards the Bustling New Uptown District

While Steve has been here before (at least a couple of times with Fred and I), this was Betty Friedman's first visit, and we spent some time walking the three-block length of the park. Activity was light, here in early afternoon on a work day.

Looking Around Klyde Warren Park (Mouseover Image if Video Controls Not Visible)

On the southeast side of the park is the Nasher Sculpture Center, where I got a nice picture of Steve and Betty Friedman by one of the sculptures on the open lawn.

Eventually, I said goodbye to Steve and his Mom and they returned to Hurst while I walked back towards my car parked northwest beyond the Dallas Federal Reserve. This was a pretty day, and it showed off some of the newer downtown buildings to great advantage. I took a number of good pictures on the way back to the car, and here are some of them:

(Click on Thumbnails to View)

It was nice to see Mrs. Friedman again; we will look forward to another "Taco Tuesday" with her when we are in Florida this fall or early next year.

You can use the links below to continue to another photo album page.

	August 11-12, 2019: "Monet: The Late Years" at the Kimbell Museum
	May 10-26, 2019: A Trip to Fort Lauderdale
	Return to the Index for 2019