GENERAL DESCRIPTION
Between 1931 and 1943, Dorothy Austin created artwork that focused on the human body, specifically the head and torso. Although she worked in various media, wood was her primary material. Highlighting the grain of the wood allowed Austin to accentuate the physical form of a sculpture. Her compositions expressed a sense of strength and power.
Perhaps the most fascinating aspect of this sculpture, especially given the near-perfect symmetry of the tree-rings on its surface, is the fact that it was made from multiple pieces of wood. According to Austin, “(finding wood) was hard at that time. I couldn’t find a piece that was solid. You used what you could find, did what you could do.” The separate pieces were glued together by the artist, as evidenced by the line running down the right cheek and chin of the sculpted head. Austin’s ability to “make do” with limited materials reveals her versatility as a sculptor and remains as inspiring today as it was during the Depression of the 1930s.
Noggin, sculpted in white pine, resembles the giant heads made by the Olmec, an ancient Mesoamerican culture. The solidity of the head suggests that it will last a long time. Austin created deep incisions, which emphasize the movement of the grain and suggest the appearance of hair. "With wood you have to follow the grain to preserve the strength of the wood. You follow it one way, and then it will shift and go another way."
Noggin received an award in 1933 from the Allied Arts Show in Dallas and became part of the Museum's permanent collection. This same year it was chosen to represent Dallas in the Museum of Modern Art's landmark exhibition "Paintings and Sculpture from 16 American Cities."
Drawn from
- "Dorothy Austin, Noggin," Texas Art, Resources/Teaching Materials, Dallas Museum of Art, 2012.
- Jane D. Albritton, "Dorothy Austin, Sculpture of the 30s and 40s," exhibition brochure, Valley House Gallery, Inc. Dallas, 1999.
- Eleanor Jones Harvey, Acquisition proposal (1933.22), March 2001.
- Alexandra Wellington, DMA research essay (1933.22), June 2011.
- Patricia D. Hendricks and Becky Duval Reese, A Century of Sculpture in Texas, 1889-1989 (Austin, TX: Archer M. Huntington Art Gallery, 1989), 47-48.
- Rick Stewart, Lone Star Regionalism: The Dallas Nine and their Circle, 1928-1945. Austin, TX: Texas Monthly Press, 1985.
NOTES
Consider adding this object to the exhibition records listed as Archives assets below.
NEEDS FURTHER RESEARCH TO CLARIFY WHICH EXHIBIT INCLUDED THIS WORK:
Fifth Annual Allied Arts Exhibition- Dorothy Austin, Negro Head, no. 262.
Sixth Annual Allied Arts Exhibition- Sorothy Austin, Noggin ($250), no. 273.
Removed TMS object tag because rule exists.
Teaching ideas resource- Excerpt from "Dorothy Austin, Noggin," Texas Art, Resources/Teaching Materials, Dallas Museum of Art, 2012.
Have removed completed tag and retagged with draft in an attempt to trigger harvest. Jan 28, 2017. After revisions, this note is being tagged complete and the GDoc is moved to Queta's folder to be reviewed. (2/23/2017)
The following essay was found on TAZ in June 2016 after this note was routed and completed. Text added to TMS as a text entry- 2/23/2017.
Dorothy Austin carved Noggin in c. 1933 using a chisel and a rasp. The chisel, which is composed of a handle and a sharp-edged blade, is used by hammering a mallet on the handle end and thus driving the sharp blade into the wood. This technique allows cuts to be made into the wood that determine the general composition of the sculpture. The rasp is a large coarse file the artist uses to shave away wood from curved surfaces with control and ease. A smaller, finer file was used to create the smooth surface of the sculpture, and the application of linseed oil as a concluding measure resulted in the glossy, well-preserved exterior that astounds viewers to this day.
Perhaps the most fascinating aspect of this sculpture, especially given the near-perfect symmetry of the tree-rings on its surface, is the fact that it was made from multiple pieces of wood. According to Austin, “(finding wood) was hard at that time. I couldn’t find a piece that was solid. You used what you could find, did what you could do.” The separate pieces were glued together by the artist, as evidenced by the line running down the right cheek and chin of the sculpted head. Austin’s ability to “make do” with limited materials reveals her versatility as a sculptor and remains as inspiring today as it was during the Depression of the 1930s.
In Noggin, the man’s facial expression is relaxed and calm, and his eyelids are almost closed suggesting a peaceful transitory state of falling asleep or slowly awakening. The carved strands of hair lead the viewer’s eye to the man’s powerful yet gentle face, and the concentric tree-rings located on the forehead, nose, and lower lip emphasize the central role of his countenance. Life and endurance, represented by the radiating tree-rings, flow from within his spirit and result in his tranquil state of mind. Austin’s sculptures were uplifting to her contemporary audience because they communicated the strength of the American spirit through solid yet graceful forms. By describing the connection between mankind and the world as a timeless, seamless, and organic fusion, she provided hope and a positive message for viewers of her art. Her serene yet epic portrayals of mankind still strike a chord with her present-day audience.
Alexandra Wellington, DMA research essay (1933.22), June 2011.
Exhibition: Lone Star Regionalism: The Dallas Nine and their Circle 1928-1945, February 3, 1985-July 10, 1988
Catalogue essays
Artist/designers
Cultures
Geography
Dallas (Texas) (object created)
Process/material
Historical periods
Individuals
Subject terms
- head: AAT: 300262520
- sculpture: AAT: 300047090
- Olmec: AAT: 300017051
RELATED OBJECTS
PROVENANCE
From 1933: Dallas Museum of Fine Arts [1] [2] [3]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] In the exhibition catalogue for "A Century of Sculpture in Texas 1889-1989," Patricia D. Hendricks offers the following information on this provenance, "[At the Fifth Annual Dallas Allied Arts Exhibition in 1932, Austin showed two works] the second a head sculpted in white pine and reminiscent of the giant heads of the Olmecs, titled 'Noggin (Mexican Head)', which was purchased by the Dallas Art Association and acquired by the Dallas Museum of Fine Arts." (Hendricks, 1989, page 47)
[3] According to exhibition documentation, Hendricks's reference to the year and annual exhibition may be incorrect. The list of works included in the Fifth Annual Dallas Allied Arts Exhibition contains Dorothy Austin, Negro Head as number 262. The list of works in the Sixth Annual Allied Arts Exhibition contains Dorothy Austin, Noggin ($250) as number 273. Both lists available digitally through the DMA Archives.
AUDIO ASSETS
Dorothy Austin Interview at the Dallas Museum of Art, October 30, 2009. Transcribed by Hillary Bober. 13310634: UMO
Object number added to Piction.
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
- Pamphlet from Sixth Annual Allied Arts Exhibition of Dallas County at the Dallas Museum of Fine Arts, 1933. Exhibition ID: 10100; 12710865: UMO
- Object number added to Piction
- Added object to exhibition in TMS.
FUN FACTS
- "[Dorothy Austin's] hobbies are Chinese poetry and the serving of chicken piloff suppers in her studio." [italics in original] (Esse F. O'Brien, Art and Artists of Texas (Dallas, 1935), 239.)
TEACHING IDEAS
RULES
Apply to objects where number equals 1933.22
Category
rules_operator
AND
General Description
Between 1931 and 1943, Dorothy Austin created artwork that focused on the human body, specifically the head and torso. Although she worked in various media, wood was her primary material. Highlighting the grain of the wood allowed Austin to accentuate the physical form of a sculpture. Her compositions expressed a sense of strength and power.
Perhaps the most fascinating aspect of this sculpture, especially given the near-perfect symmetry of the tree-rings on its surface, is the fact that it was made from multiple pieces of wood. According to Austin, “(finding wood) was hard at that time. I couldn’t find a piece that was solid. You used what you could find, did what you could do.” The separate pieces were glued together by the artist, as evidenced by the line running down the right cheek and chin of the sculpted head. Austin’s ability to “make do” with limited materials reveals her versatility as a sculptor and remains as inspiring today as it was during the Depression of the 1930s.
Noggin, sculpted in white pine, resembles the giant heads made by the Olmec, an ancient Mesoamerican culture. The solidity of the head suggests that it will last a long time. Austin created deep incisions, which emphasize the movement of the grain and suggest the appearance of hair. "With wood you have to follow the grain to preserve the strength of the wood. You follow it one way, and then it will shift and go another way."
Noggin received an award in 1933 from the Allied Arts Show in Dallas and became part of the Museum's permanent collection. This same year it was chosen to represent Dallas in the Museum of Modern Art's landmark exhibition "Paintings and Sculpture from 16 American Cities."
Drawn from
- "Dorothy Austin, Noggin," Texas Art, Resources/Teaching Materials, Dallas Museum of Art, 2012.
- Jane D. Albritton, "Dorothy Austin, Sculpture of the 30s and 40s," exhibition brochure, Valley House Gallery, Inc. Dallas, 1999.
- Eleanor Jones Harvey, Acquisition proposal (1933.22), March 2001.
- Alexandra Wellington, DMA research essay (1933.22), June 2011.
- Patricia D. Hendricks and Becky Duval Reese, A Century of Sculpture in Texas, 1889-1989 (Austin, TX: Archer M. Huntington Art Gallery, 1989), 47-48.
- Rick Stewart, Lone Star Regionalism: The Dallas Nine and their Circle, 1928-1945. Austin, TX: Texas Monthly Press, 1985.
Fun Facts
- "[Dorothy Austin's] hobbies are Chinese poetry and the serving of chicken piloff suppers in her studio." [italics in original] (Esse F. O'Brien, Art and Artists of Texas (Dallas, 1935), 239.)
Archival Resources
- Pamphlet from Sixth Annual Allied Arts Exhibition of Dallas County at the Dallas Museum of Fine Arts, 1933. Exhibition ID: 10100; 12710865: UMO
- Object number added to Piction
- Added object to exhibition in TMS.
Web Resources
Notes
Consider adding this object to the exhibition records listed as Archives assets below.
NEEDS FURTHER RESEARCH TO CLARIFY WHICH EXHIBIT INCLUDED THIS WORK:
Fifth Annual Allied Arts Exhibition- Dorothy Austin, Negro Head, no. 262.
Sixth Annual Allied Arts Exhibition- Sorothy Austin, Noggin ($250), no. 273.
Removed TMS object tag because rule exists.
Teaching ideas resource- Excerpt from "Dorothy Austin, Noggin," Texas Art, Resources/Teaching Materials, Dallas Museum of Art, 2012.
Have removed completed tag and retagged with draft in an attempt to trigger harvest. Jan 28, 2017. After revisions, this note is being tagged complete and the GDoc is moved to Queta's folder to be reviewed. (2/23/2017)
The following essay was found on TAZ in June 2016 after this note was routed and completed. Text added to TMS as a text entry- 2/23/2017.
Dorothy Austin carved Noggin in c. 1933 using a chisel and a rasp. The chisel, which is composed of a handle and a sharp-edged blade, is used by hammering a mallet on the handle end and thus driving the sharp blade into the wood. This technique allows cuts to be made into the wood that determine the general composition of the sculpture. The rasp is a large coarse file the artist uses to shave away wood from curved surfaces with control and ease. A smaller, finer file was used to create the smooth surface of the sculpture, and the application of linseed oil as a concluding measure resulted in the glossy, well-preserved exterior that astounds viewers to this day.
Perhaps the most fascinating aspect of this sculpture, especially given the near-perfect symmetry of the tree-rings on its surface, is the fact that it was made from multiple pieces of wood. According to Austin, “(finding wood) was hard at that time. I couldn’t find a piece that was solid. You used what you could find, did what you could do.” The separate pieces were glued together by the artist, as evidenced by the line running down the right cheek and chin of the sculpted head. Austin’s ability to “make do” with limited materials reveals her versatility as a sculptor and remains as inspiring today as it was during the Depression of the 1930s.
In Noggin, the man’s facial expression is relaxed and calm, and his eyelids are almost closed suggesting a peaceful transitory state of falling asleep or slowly awakening. The carved strands of hair lead the viewer’s eye to the man’s powerful yet gentle face, and the concentric tree-rings located on the forehead, nose, and lower lip emphasize the central role of his countenance. Life and endurance, represented by the radiating tree-rings, flow from within his spirit and result in his tranquil state of mind. Austin’s sculptures were uplifting to her contemporary audience because they communicated the strength of the American spirit through solid yet graceful forms. By describing the connection between mankind and the world as a timeless, seamless, and organic fusion, she provided hope and a positive message for viewers of her art. Her serene yet epic portrayals of mankind still strike a chord with her present-day audience.
Alexandra Wellington, DMA research essay (1933.22), June 2011.
Exhibition: Lone Star Regionalism: The Dallas Nine and their Circle 1928-1945, February 3, 1985-July 10, 1988
Catalogue essays
Artist/designers
Cultures
Geography
Dallas (Texas) (object created)
Process/material
Historical periods
Individuals
Subject terms
- head: AAT: 300262520
- sculpture: AAT: 300047090
- Olmec: AAT: 300017051
RELATED OBJECTS
PROVENANCE
From 1933: Dallas Museum of Fine Arts [1] [2] [3]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] In the exhibition catalogue for "A Century of Sculpture in Texas 1889-1989," Patricia D. Hendricks offers the following information on this provenance, "[At the Fifth Annual Dallas Allied Arts Exhibition in 1932, Austin showed two works] the second a head sculpted in white pine and reminiscent of the giant heads of the Olmecs, titled 'Noggin (Mexican Head)', which was purchased by the Dallas Art Association and acquired by the Dallas Museum of Fine Arts." (Hendricks, 1989, page 47)
[3] According to exhibition documentation, Hendricks's reference to the year and annual exhibition may be incorrect. The list of works included in the Fifth Annual Dallas Allied Arts Exhibition contains Dorothy Austin, Negro Head as number 262. The list of works in the Sixth Annual Allied Arts Exhibition contains Dorothy Austin, Noggin ($250) as number 273. Both lists available digitally through the DMA Archives.
AUDIO ASSETS
Dorothy Austin Interview at the Dallas Museum of Art, October 30, 2009. Transcribed by Hillary Bober. 13310634: UMO
Object number added to Piction.
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1933.22
source file
object_notes_2_b-0368.xml.nores