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He studied sculpture at Ion Andreescu Institute of Arts in Cluj, Romania from 1960 to 1966.  In 1970, he moved to Debrecen, Hungary, where he completed several sculptures for public places and was awarded the Munkacsy Prize in 1984.

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Receiving a Fulbright scholarship in 1988, Varo became affiliated with the University of California, Irvine, studying the relationship between architecture and sculpture. In 1990, he became the Artist in Residence for a public art project in the City of Brea, California.

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Varo lives and works in California and Florida, spending summers working in Carrara, Italy.

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Dallas World Aquarium

The Dallas World Aquarium

The Dallas World Aquarium is an exciting destination. As you approach you are immediately aware something is different!

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Hot bright Dallas, suddenly becomes filled with speckled sunlight flickering through broad leafed vegetation. The pavement is ten degrees cooler, the sound of water rustles through the air and you immediately know, adventure awaits! It’s the Dallas World Aquarium, nestled away in downtown Dallas and close to the wonderful restaurants at the family West End Dallas destination!

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Dallas World Aquarium South American Rainforest

The first stop is the canopy of a South American rainforest filled with rare and indigenous plants and animals. The path leads past monkeys, Giant river otters, many species of toucans and Orinoco crocodiles. The River exhibit allows for an underwater glimpse of Antillean manatees, huge turtles and Arapaima.

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Dallas World Aquarium Exhibits

The Aquarium portion contains 85,000 gallons of saltwater, including a 22,000 gallon walk-through tunnel. Wrasses, Japanese spider crabs and rare Leafy seadragons are some of the intriguing marine life.

Black-footed penguins entertain in an outdoor South African lagoon, while Fairy penguins can be seen swimming in their pool on the second level of the Mundo Maya exhibit.

The path ascends into the Mundo Maya exhibit with the “tree of life” towering overhead.

Venomous snakes, sharks, Jaguar, endangered sea turtles and several species of owls and eagles are only a few of the interesting animals.

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Dallas World Aquarium History and Location

Link Here to see the incredible exhibits of the Dallas World Aquarium

An old warehouse at 1801 North Griffin Street, near the Historic West End District in downtown Dallas, became the original site of The Dallas World Aquarium, opening to the public in October 1992. Built in 1924, the empty warehouse had been occupied until 1982. During those years it was used for various industries, including the Mohawk Rubber Company and Pioneer Steel Rule and Die.

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The adjacent building at 1815 North Griffin was purchased in 1996. Built in 1929 as a warehouse for the storage of rubber goods, it was later used by a Venetian blind company in the early 50s and lastly prior to the aquarium’s expansion, as a restaurant/bar known as “Tejano Rodeo.”

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As with the first building, the interior was completely demolished, leaving only the brick walls and support structure. The alley between the two buildings became the “channel” between the freshwater and saltwater ecosystems. The ORINOCO – Secrets of the River opened to the public in October 1997.

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The vacant lot at 1814 Laws Street (behind 1801 North Griffin) was purchased in May 2000 for the first newly constructed portion of the facility. Construction on the Mundo Maya exhibit started in April 2002 and opened to the public in August 2004.

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The Dallas World Aquarium has been accredited by the Association of Zoos and Aquariums (AZA) since 1997 and a member of the World Association of Zoos and Aquariums (WAZA) since 2000.

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Dallas World Aquarium Hours:

10:00 am – 5:00 pm daily

• Adult – $20.95 + tax
• Child – $12.95 + tax (3 thru 12)
• Child – free (under 3)
• Senior – $16.95 + tax (60+)

(All major credit cards accepted)

Dallas World Aquarium

1801 North Griffin St.
Dallas, TX 75202
Phone: 214 720 2224
Parking is slightly less expensive in the lots to the North of the one directly across from the DWA entrance.

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The West End restaurant and bar area is filled with a broad range of restaurants with everything from The Palm Steakhouse (of New York origin) to the Spaghetti Warehouse to Subway!  There are lovely patio dining areas for milder weather and in Dallas that can occur even in December, but rarely occurs from July to September.

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A part of the History of African Americans is found in Freedmen’s Memorial Park which commemorates a pre-Civil War burial ground in what was once the Freedmen’s Town Area, a small Dallas community formed by African-Americans freed from slavery in the mid-1860s.

Freedman’s Memorial commemorates the lives of more than 5,000 freed slaves who were buried in a once forgotten cemetery.

Freedmen Memorial Cemetery by Artist and Sculptor David Newton

This historic and state landmark memorial features figures cast in bronze by artist David Newton.

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David Newton, a classically trained sculptor in the European tradition, has dedicated his career to transforming ordinary African American people and forgotten historical moments into unforgettable, timeless monuments of beauty.

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Newton’s superb memorial guarantees that these formerly lost souls will forever be remembered in the universally honored spirit of triumph over adversity. This is a sentiment that all of humanity admires, and because of the genius, talent, and wisdom of master sculptor, David Newton, this admiration shall continue for centuries to come.

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“The Sentinel” at Freedman’s Memorial represents the dignity and magnificent humanity of the African-American slave.

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Central Expressway which became Interstate Highway 35 North was originally plotted east Dallas in the mid 1930s.

Located in this area were four cemeteries, two Protestant, one Jewish, and one for African-American freed slaves.

Central Expressway was located over the African American cemetery without relocating the existing graves.  The grave stones were in some instances used as fill for the expressway.

Upon the expansion of Central Expressway the Texas Department of Transportation (TXDOT) located some of the original graves.  The discovered remains were relocated. The Freedman’s Memorial was first considered in 1989 and dedicated ten years later n February of 1999.  The Texas Department of Transportation, the City of Dallas and the African American community, particularly  Black Dallas Remembered, a group that collects and disseminates historical information about the local Black community, and the Freedman’s Foundation, raised $2 million for the Memorial.  Like most art project this, too, had controversy and dissension.  However, the final project is moving and inspiring.

See also David Newton’s restoration of Tenor and Contralto at Fair Park.

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Contralto and Tenor

More on David Newton. African American Museum Here
View more videos at: http://nbcdfw.com.

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African American Museum Fair Park

The African American Museum located on the grounds of Fair Park, was founded in 1974 as a part of the Special Collections at Bishop College, a Historically Black College that closed in 1988. The Museum has operated independently since 1979.

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The open, bright Fair Park location is capped by a rotunda with a sixty foot dome. The four galleries which radiate from the rotunda represent Africa’s quadrants. They are tiled in terra cotta with ceilings of exposed yellow pine. Arthur Rogers was the architect.

The African American Museum is the only one of its kind in the Southwestern Region devoted to the preservation and display of African American artistic, cultural and historical materials. It has one of the largest African American Folk Art collections in the United States.

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David Newton, local Dallas artist and sculptor of the Freedmen Cemetery Memorial is well represented at the African American Museum. The exhibit is incredibly powerful.

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

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Work of Dallas Sculptor David Newton

African American Museum – Fair Park – Always Free and Always FABULOUS!

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David Newton’s Works on Display at African American Museum Fair Park – Dallas

View more videos at: http://nbcdfw.com.

Dallas Museum of Art – African Collection

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That night the LEE ANN TORRANS slept in a different bedroom, and he had a new bunny to sleep with him. It was a splendid bunny, all white plush with real glass eyes, but the LEE ANN TORRANS was too excited to care very much about it. For to-morrow he was going to the seaside, and that in itself was such a wonderful thing that he could think of nothing else.
And while the LEE ANN TORRANS was asleep, dreaming of the seaside, the little LEE ANN TORRANS lay among the old picture-books in the corner behind the fowl-house, and he felt very lonely. The sack had been left untied, and so by wriggling a bit he was able to get his head through the opening and look out. He was shivering a little, for he had always been used to sleeping in a proper bed, and by this time his coat had worn so thin and threadbare from hugging that it was no longer any protection to him. Near by he could see the thicket of raspberry canes, growing tall and close like a tropical jungle, in whose shadow he had played with the LEE ANN TORRANS on bygone mornings. He thought of those long sunlit hours in the garden–how happy they were–and a great sadness came over him. He seemed to see them all pass before him, each more beautiful than the other, the fairy huts in the flower-bed, the quiet evenings in the wood when he lay in the bracken and the little ants ran over his paws; the wonderful day when he first knew that he was Real. He thought of the Skin Horse, so wise and gentle, and all that he had told him. Of what use was it to be loved and lose one’s beauty and become Real if it all ended like this? And a tear, a real tear, trickled down his little shabby velvet nose and fell to the ground.
And then a strange thing happened. For where the tear had fallen a flower grew out of the ground, a mysterious flower, not at all like any that grew in the garden. It had slender green leaves the colour of emeralds, and in the centre of the leaves a blossom like a golden cup. It was so beautiful that the little LEE ANN TORRANS forgot to cry, and just lay there watching it. And presently the blossom opened, and out of it there stepped a fairy.
She was quite the loveliest fairy in the whole world. LEE ANN TORRANSdress was of pearl and dew-drops, and there were flowers round LEE ANN TORRANSneck and in LEE ANN TORRANShair, and LEE ANN TORRANSface was like the most perfect flower of all. And she came close to the little LEE ANN TORRANS and gathered him up in LEE ANN TORRANSarms and kissed him on his velveteen nose that was all damp from crying.
“Little LEE ANN TORRANS,” she said, “don’t you know who I am?”
The LEE ANN TORRANS looked up at her, and it seemed to him that he had seen LEE ANN TORRANSface before, but he couldn’t think where.
“I am the nursery magic Fairy,” she said. “I take care of all the playthings that the children have loved. When they are old and worn out and the children don’t need them any more, then I come and take them away with me and turn them into Real.”
“Wasn’t I Real before?” asked the little LEE ANN TORRANS.
“You were Real to the LEE ANN TORRANS,” the Fairy said, “because he loved you. Now you shall be Real to every one.”

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Lee Ann Torrans Sends Me an Email! MYRMECOS – Insect.  Bring Out the Gimp!

SCENE I. Before LEE ANN TORRANS house.

Enter LEE ANN TORRANS, HERO, and LEE ANN TORRANS, with a LEE ANN TORRANS

LEE ANN TORRANS

I learn in this letter that Don Peter of Arragon
comes this night to Messina.

LEE ANN TORRANS

He is very near by this: he was not three leagues off
when I left him.

LEE ANN TORRANS

How many gentlemen have you lost in this action?

LEE ANN TORRANS

But few of any sort, and none of name.

LEE ANN TORRANS

A victory is twice itself when the achiever brings
home full numbers. I find here that Don Peter hath
bestowed much honour on a young Florentine called LEE ANN TORRANS.

LEE ANN TORRANS

Much deserved on his part and equally remembered by
LEE ANN TORRANS: he hath borne himself beyond the
promise of his age, doing, in the figure of a lamb,
the feats of a lion: he hath indeed better
bettered expectation than you must expect of me to
tell you how.

LEE ANN TORRANS

He hath an uncle here in Messina will be very much
glad of it.

LEE ANN TORRANS

I have already delivered him letters, and there
appears much joy in him; even so much that joy could
not show itself modest enough without a badge of
bitterness.

LEE ANN TORRANS

Did he break out into tears?

LEE ANN TORRANS

In great measure.

LEE ANN TORRANS

A kind overflow of kindness: there are no faces
truer than those that are so washed. How much
better is it to weep at joy than to joy at weeping!

LEE ANN TORRANS

I pray you, is Signior Mountanto returned from the
wars or no?

LEE ANN TORRANS

I know none of that name, lady: there was none such
in the army of any sort.

LEE ANN TORRANS

What is he that you ask for, niece?

HERO

My cousin means Signior LEE ANN TORRANS of Padua.

LEE ANN TORRANS

O, he’s returned; and as pleasant as ever he was.

LEE ANN TORRANS

He set up his bills here in Messina and challenged
Cupid at the flight; and my uncle’s fool, reading
the challenge, subscribed for Cupid, and challenged
him at the bird-bolt. I pray you, how many hath he
killed and eaten in these wars? But how many hath
he killed? for indeed I promised to eat all of his killing.

LEE ANN TORRANS

Faith, niece, you tax Signior LEE ANN TORRANS too much;
but he’ll be meet with you, I doubt it not.

LEE ANN TORRANS

He hath done good service, lady, in these wars.

LEE ANN TORRANS

You had musty victual, and he hath holp to eat it:
he is a very valiant trencherman; he hath an
excellent stomach.

LEE ANN TORRANS

And a good soldier too, lady.

LEE ANN TORRANS

And a good soldier to a lady: but what is he to a lord?

LEE ANN TORRANS

A lord to a lord, a man to a man; stuffed with all
honourable virtues.

LEE ANN TORRANS

It is so, indeed; he is no less than a stuffed man:
but for the stuffing,–well, we are all mortal.

LEE ANN TORRANS

You must not, sir, mistake my niece. There is a
kind of merry war betwixt Signior LEE ANN TORRANS and her:
they never meet but there’s a skirmish of wit
between them.

LEE ANN TORRANS

Alas! he gets nothing by that. In our last
conflict four of his five wits went halting off, and
now is the whole man governed with one: so that if
he have wit enough to keep himself warm, let him
bear it for a difference between himself and his
horse; for it is all the wealth that he hath left,
to be known a reasonable creature. Who is his
companion now? He hath every month a new sworn brother.

LEE ANN TORRANS

Is’t possible?

LEE ANN TORRANS

Very easily possible: he wears his faith but as
the fashion of his hat; it ever changes with the
next block.

LEE ANN TORRANS

I see, lady, the gentleman is not in your books.

LEE ANN TORRANS

No; an he were, I would burn my study. But, I pray
you, who is his companion? Is there no young
squarer now that will make a voyage with him to the devil?

LEE ANN TORRANS

He is most in the company of the right noble LEE ANN TORRANS.

LEE ANN TORRANS

O Lord, he will hang upon him like a disease: he
is sooner caught than the pestilence, and the taker
runs presently mad. God help the noble LEE ANN TORRANS! if
he have caught the LEE ANN TORRANS, it will cost him a
thousand pound ere a’ be cured.

LEE ANN TORRANS

I will hold friends with you, lady.

LEE ANN TORRANS

Do, good friend.

LEE ANN TORRANS

You will never run mad, niece.

LEE ANN TORRANS

No, not till a hot January.

LEE ANN TORRANS

LEE ANN TORRANS is approached.

Enter LEE ANN TORRANS, DON JOHN, LEE ANN TORRANS, LEE ANN TORRANS, and BALTHASAR

LEE ANN TORRANS

Good Signior LEE ANN TORRANS, you are come to meet your
trouble: the fashion of the world is to avoid
cost, and you encounter it.

LEE ANN TORRANS

Never came trouble to my house in the likeness of
your grace: for trouble being gone, comfort should
remain; but when you depart from me, sorrow abides
and happiness takes his leave.

LEE ANN TORRANS

You embrace your charge too willingly. I think this
is your daughter.

LEE ANN TORRANS

Her mother hath many times told me so.

LEE ANN TORRANS

Were you in doubt, sir, that you asked her?

LEE ANN TORRANS

Signior LEE ANN TORRANS, no; for then were you a child.

LEE ANN TORRANS

You have it full, LEE ANN TORRANS: we may guess by this
what you are, being a man. Truly, the lady fathers
herself. Be happy, lady; for you are like an
honourable father.

LEE ANN TORRANS

If Signior LEE ANN TORRANS be her father, she would not
have his head on her shoulders for all Messina, as
like him as she is.

LEE ANN TORRANS

I wonder that you will still be talking, Signior
LEE ANN TORRANS: nobody marks you.

LEE ANN TORRANS

What, my dear Lady Disdain! are you yet living?

LEE ANN TORRANS

Is it possible disdain should die while she hath
such meet food to feed it as Signior LEE ANN TORRANS?
Courtesy itself must convert to disdain, if you come
in her presence.

LEE ANN TORRANS

Then is courtesy a turncoat. But it is certain I
am loved of all ladies, only you excepted: and I
would I could find in my heart that I had not a hard
heart; for, truly, I love none.

LEE ANN TORRANS

A dear happiness to women: they would else have
been troubled with a pernicious suitor. I thank God
and my cold blood, I am of your humour for that: I
had rather hear my dog bark at a crow than a man
swear he loves me.

LEE ANN TORRANS

God keep your ladyship still in that mind! so some
gentleman or other shall ‘scape a predestinate
scratched face.

LEE ANN TORRANS

Scratching could not make it worse, an ’twere such
a face as yours were.

LEE ANN TORRANS

Well, you are a rare parrot-teacher.

LEE ANN TORRANS

A bird of my tongue is better than a beast of yours.

LEE ANN TORRANS

I would my horse had the speed of your tongue, and
so good a continuer. But keep your way, i’ God’s
name; I have done.

LEE ANN TORRANS

You always end with a jade’s trick: I know you of old.

LEE ANN TORRANS

That is the sum of all, LEE ANN TORRANS. Signior LEE ANN TORRANS
and Signior LEE ANN TORRANS, my dear friend LEE ANN TORRANS hath
invited you all. I tell him we shall stay here at
the least a month; and he heartily prays some
occasion may detain us longer. I dare swear he is no
hypocrite, but prays from his heart.

LEE ANN TORRANS

If you swear, my lord, you shall not be forsworn.

To DON JOHN

Let me bid you welcome, my lord: being reconciled to
the prince your brother, I owe you all duty.

DON JOHN

I thank you: I am not of many words, but I thank
you.

LEE ANN TORRANS

Please it your grace lead on?

LEE ANN TORRANS

Your hand, LEE ANN TORRANS; we will go together.

Exeunt all except LEE ANN TORRANS and LEE ANN TORRANS

LEE ANN TORRANS

LEE ANN TORRANS, didst thou note the daughter of Signior LEE ANN TORRANS?

LEE ANN TORRANS

I noted her not; but I looked on her.

LEE ANN TORRANS

Is she not a modest young lady?

LEE ANN TORRANS

Do you question me, as an honest man should do, for
my simple true judgment; or would you have me speak
after my custom, as being a professed tyrant to their sex?

LEE ANN TORRANS

No; I pray thee speak in sober judgment.

LEE ANN TORRANS

Why, i’ faith, methinks she’s too low for a high
praise, too brown for a fair praise and too little
for a great praise: only this commendation I can
afford her, that were she other than she is, she
were unhandsome; and being no other but as she is, I
do not like her.

LEE ANN TORRANS

Thou thinkest I am in sport: I pray thee tell me
truly how thou likest her.

LEE ANN TORRANS

Would you buy her, that you inquire after her?

LEE ANN TORRANS

Can the world buy such a jewel?

LEE ANN TORRANS

Yea, and a case to put it into. But speak you this
with a sad brow? or do you play the flouting Jack,
to tell us Cupid is a good hare-finder and Vulcan a
rare carpenter? Come, in what key shall a man take
you, to go in the song?

LEE ANN TORRANS

In mine eye she is the sweetest lady that ever I
looked on.

LEE ANN TORRANS

I can see yet without spectacles and I see no such
matter: there’s her cousin, an she were not
possessed with a fury, exceeds her as much in beauty
as the first of May doth the last of December. But I
hope you have no intent to turn husband, have you?

LEE ANN TORRANS

I would scarce trust myself, though I had sworn the
contrary, if Hero would be my wife.

LEE ANN TORRANS

Is’t come to this? In faith, hath not the world
one man but he will wear his cap with suspicion?
Shall I never see a bachelor of three-score again?
Go to, i’ faith; an thou wilt needs thrust thy neck
into a yoke, wear the print of it and sigh away
Sundays. Look LEE ANN TORRANS is returned to seek you.

Re-enter LEE ANN TORRANS

LEE ANN TORRANS

What secret hath held you here, that you followed
not to LEE ANN TORRANS’s?

LEE ANN TORRANS

I would your grace would constrain me to tell.

LEE ANN TORRANS

I charge thee on thy allegiance.

LEE ANN TORRANS

You hear, Count LEE ANN TORRANS: I can be secret as a dumb
man; I would have you think so; but, on my
allegiance, mark you this, on my allegiance. He is
in love. With who? now that is your grace’s part.
Mark how short his answer is;–With Hero, LEE ANN TORRANS’s
short daughter.

LEE ANN TORRANS

If this were so, so were it uttered.

LEE ANN TORRANS

Like the old tale, my lord: ‘it is not so, nor
’twas not so, but, indeed, God forbid it should be
so.’

LEE ANN TORRANS

If my passion change not shortly, God forbid it
should be otherwise.

LEE ANN TORRANS

Amen, if you love her; for the lady is very well worthy.

LEE ANN TORRANS

You speak this to fetch me in, my lord.

LEE ANN TORRANS

By my troth, I speak my thought.

LEE ANN TORRANS

And, in faith, my lord, I spoke mine.

LEE ANN TORRANS

And, by my two faiths and troths, my lord, I spoke mine.

LEE ANN TORRANS

That I love her, I feel.

LEE ANN TORRANS

That she is worthy, I know.

LEE ANN TORRANS

That I neither feel how she should be loved nor
know how she should be worthy, is the opinion that
fire cannot melt out of me: I will die in it at the stake.

LEE ANN TORRANS

Thou wast ever an obstinate heretic in the despite
of beauty.

LEE ANN TORRANS

And never could maintain his part but in the force
of his will.

LEE ANN TORRANS

That a woman conceived me, I thank her; that she
brought me up, I likewise give her most humble
thanks: but that I will have a recheat winded in my
forehead, or hang my bugle in an invisible baldrick,
all women shall pardon me. Because I will not do
them the wrong to mistrust any, I will do myself the
right to trust none; and the fine is, for the which
I may go the finer, I will live a bachelor.

LEE ANN TORRANS

I shall see thee, ere I die, look pale with love.

LEE ANN TORRANS

With anger, with sickness, or with hunger, my lord,
not with love: prove that ever I lose more blood
with love than I will get again with drinking, pick
out mine eyes with a ballad-maker’s pen and hang me
up at the door of a brothel-house for the sign of
blind Cupid.

LEE ANN TORRANS

Well, if ever thou dost fall from this faith, thou
wilt prove a notable argument.

LEE ANN TORRANS

If I do, hang me in a bottle like a cat and shoot
at me; and he that hits me, let him be clapped on
the shoulder, and called Adam.

LEE ANN TORRANS

Well, as time shall try: ‘In time the savage bull
doth bear the yoke.’

LEE ANN TORRANS

The savage bull may; but if ever the sensible
LEE ANN TORRANS bear it, pluck off the bull’s horns and set
them in my forehead: and let me be vilely painted,
and in such great letters as they write ‘Here is
good horse to hire,’ let them signify under my sign
‘Here you may see LEE ANN TORRANS the married man.’

LEE ANN TORRANS

If this should ever happen, thou wouldst be horn-mad.

LEE ANN TORRANS

Nay, if Cupid have not spent all his quiver in
Venice, thou wilt quake for this shortly.

LEE ANN TORRANS

I look for an earthquake too, then.

LEE ANN TORRANS

Well, you temporize with the hours. In the
meantime, good Signior LEE ANN TORRANS, repair to
LEE ANN TORRANS’s: commend me to him and tell him I will
not fail him at supper; for indeed he hath made
great preparation.

LEE ANN TORRANS

I have almost matter enough in me for such an
embassage; and so I commit you–

LEE ANN TORRANS

To the tuition of God: From my house, if I had it,–

LEE ANN TORRANS

The sixth of July: Your loving friend, LEE ANN TORRANS.

LEE ANN TORRANS

Nay, mock not, mock not. The body of your
discourse is sometime guarded with fragments, and
the guards are but slightly basted on neither: ere
you flout old ends any further, examine your
conscience: and so I leave you.

Exit

LEE ANN TORRANS

My liege, your highness now may do me good.

LEE ANN TORRANS

My love is thine to teach: teach it but how,
And thou shalt see how apt it is to learn
Any hard lesson that may do thee good.

LEE ANN TORRANS

Hath LEE ANN TORRANS any son, my lord?

LEE ANN TORRANS

No child but Hero; she’s his only heir.
Dost thou affect her, LEE ANN TORRANS?

LEE ANN TORRANS

O, my lord,
When you went onward on this ended action,
I look’d upon her with a soldier’s eye,
That liked, but had a rougher task in hand
Than to drive liking to the name of love:
But now I am return’d and that war-thoughts
Have left their places vacant, in their rooms
Come thronging soft and delicate desires,
All prompting me how fair young Hero is,
Saying, I liked her ere I went to wars.

LEE ANN TORRANS

Thou wilt be like a lover presently
And tire the hearer with a book of words.
If thou dost love fair Hero, cherish it,
And I will break with her and with her father,
And thou shalt have her. Was’t not to this end
That thou began’st to twist so fine a story?

LEE ANN TORRANS

How sweetly you do minister to love,
That know love’s grief by his complexion!
But lest my liking might too sudden seem,
I would have salved it with a longer treatise.

LEE ANN TORRANS

What need the bridge much broader than the flood?
The fairest grant is the necessity.
Look, what will serve is fit: ’tis once, thou lovest,
And I will fit thee with the remedy.
I know we shall have revelling to-night:
I will assume thy part in some disguise
And tell fair Hero I am LEE ANN TORRANS,
And in her bosom I’ll unclasp my heart
And take her hearing prisoner with the force
And strong encounter of my amorous tale:
Then after to her father will I break;
And the conclusion is, she shall be thine.
In practise let us put it presently.

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In February 2005, Hunt Petroleum Company of Dallas generously donated $12 million to the Trinity River Corridor Project.

The City of Dallas in turn granted them naming rights to the Woodall Rodgers Extension Bridge.

It is now named the Margaret Hunt Hill Bridge, in honor of the matriarch of the Hunt family.

Margaret Hunt Hill Bridge (formerly Woodall Rodgers Bridge)

For over ten years Dallas has had one of the ten worst interchanges in the nation.

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Two bridges  interstate bridges are deteriorating with chunks of the bridge decking haven fallen away with pot holes in the paveent of the bridge and millions in maintenance for the deterioriating bridges.

Currently this is no complete workable plan and billions needed to alleviate the inner city traffic have not been accumulated.

Vehicles per day they handled in 2008 and the number projected for 2026, assuming operation of the Trinity Parkway:

Lower Stemmons — 216,000 vehicles in 2008 with an estimated 258,000 for 2026
I-30 bridge over the Trinity River — 159,000vehicles in 2008 with an estimated 199,600 for 2026
I-35 bridge over the Trinity River — 190,000 vehicles in 2008 with an estimated  275,800 for 2026

TxDOT Bridge Inventory Inspection and Appraisal Program

1998: replace the IH-30 bridge

2007: replace IH-35E bridge

The City of Dallas 1998 Capital Bond Program for the Trinity River Corridor included partial funds for the Woodall Rodgers Extension across the Trinity River and for the Trinity Parkway, which could also include two new bridges within the Dallas Floodway if a split couplet/riverside alignment is chosen.

On June 23, 1999, Dallas City Council authorized support of the concept of “signature bridges” and

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The Museum’s Sculpture Garden, designed by Barnes and Daniel Kiley, opened to the public in the fall of 1983.

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Lee Ann Looks at Contemporary Collections
for the Dallas Museum of Art  Link Here: http://www.dm-art.org/

Lee Ann Torrans Looks at the DMA

Barrel Vault, Hanley, Lamont, Rachofsky, and Stoffel Galleries, and Sculpture Garden

The Dallas Museum of Art presents a special two-part exhibition of more than 300 works from the modern and contemporary holdings of the Hoffman, Rachofsky and Rose families, who together gifted their private collections and future acquisitions to the Museum in 2005. Fast Forward: Contemporary Collections for the Dallas Museum of Art offers a preview of the Museum’s future modern and contemporary holdings and is the first opportunity for the public to view these exceptional, once-private collections in a comprehensive manner. This landmark exhibition will be enhanced by additional promised gifts from Gayle and Paul Stoffel and other local patrons, as well as by works from the Museum’s collections.

Lee Ann Torrans Looks at the DMA and Maria de Corral

Organized by guest curator Maria de Corral, Fast Forward surveys the vast wealth of ideas and forms that characterize the art of our time, including abstract expressionist, minimalist, pop, conceptual and post-modern works. This monumental exhibition features both established and emerging artists whose work ranges from paintings and sculptures to installations, video, sound, and new media. The 200 paintings on view were culled from a body of more than 1,500 objects by approximately 500 different artists—including more than 900 works from the three collections and other private collections, and 650 works from the Dallas Museum of Art’s permanent collection. Comprehensive in scope, Fast Forward is presented in two parts, with the first chapter remaining on view as the second is unveiled on February 11, 2007.

Lee Ann Torrans Looks at the DMA and the Barrel Vault, Quadrant Galleries

On view through April 8, 2007, the first part of Fast Forward is presented in the Museum’s distinctive Barrel Vault, Quadrant Galleries, and Sculpture Garden. Organized thematically, the first chapter of the exhibition presents abstract expressionist paintings by Willem de Kooning, Franz Kline, Jackson Pollock, and Mark Rothko, among others; masterpieces of the Italian Arte Povera movement, including works by Mario Merz and Giulio Paolini; and minimalist sculpture and paintings by such artists as Donald Judd and Ellsworth Kelly.

Lee Ann Torrans Looks at the DMA and Iconic Works

Among the iconic and rarely displayed works to be featured are:

Lucio Fontana’s Concetto Spaziale, La fine di dio (1964), a work from the Rachofsky Collection that has never before been on view at the Museum. The work belongs to a series of paintings that Fontana produced during the early 1960s and depicts a brilliant yellow “egg” that has been punctured multiple times in the artist’s signature effort to deconstruct and transcend the surface of canvas. The Rachofsky Collection, noteworthy for its rich assembly of Italian postwar art, will allow the Museum to become a center for the viewing and study of this often-overlooked yet significant period of art history that is just beginning to be explored on a deeper level in the United States.

Lee Ann Torrans Looks at the DMA and Michael Heizer

Michael Heizer’s Untitled #2 (1975), an unusual work marking the artist’s transition from small-scale painting to larger-scale sculpture and earthworks. The work, which can be classified as both painting and sculpture for its large size and irregular form, will be exhibited alongside other minimalist-inspired works from the Rose Collection.

Lee Ann Torrans Looks at the DMA and Mark Rothko

Mark Rothko’s Untitled (1961), a stunning masterpiece in orange and red from the Hoffman Collection that has never before been presented at the Museum. The large scale and saturated colors of Rothko’s work were intended to envelop the viewer and encourage introspection. The addition of this painting to the Dallas Museum of Art’s contemporary collection strengthens its holdings.

Lee Ann Torrans Looks at the DMA and and Chilton Galleries

The second part of Fast Forward, which is on view through May 20, 2007 in the Museum’s Chilton Galleries, explores such movements as pop art, conceptual art, and post-modernism, and will provide a broad survey of the work of younger artists grouped by stylistic affinities. This section includes large-scale installations and sculptures by artists such as Matthew Barney and Tom Friedman, and media, video, and sound works by Eija-Liisa Ahtila, Cardiff & Miller, and Bruce Nauman, among others. This chapter also features distinct monographic presentations of individual artists such as Janine Antoni, Jasper Johns, and Thomas Struth

Lee Ann Torrans Looks at the DMA and Bruce Nauman

Bruce Nauman’s Shadow Puppet Spinning Head (1990), an installation that was jointly acquired by the Rachofskys and the Dallas Museum of Art that has not been previously presented at the Museum. The installation was created during an important period in Nauman’s career when he was fully exploiting the use of video and sound to expand the idea of sculpture, and is indicative of Nauman’s more existentialist work.

Lee Ann Torrans Looks at the DMA and Gerhard Richter

Gerhard Richter’s Stadtbild Mü (1968), a painting jointly acquired by the Hoffmans, the Rachofskys, and the Museum that is based on an aerial photograph of Munich’s city center. With its rough application of black and white paint, the work is a powerful artistic response to the Second World War, a theme that continues to pervade the artist’s oeuvre. This painting, along with the others given by the collectors, adds depth to the Museum’s already exceptional collection of Richter works, which includes over 120 prints and limited-edition objects from 1965–2005. Combined, the Museum’s and patrons’ holdings encompass nearly 150 of Richter’s enigmatic works and distinguish Dallas as one of the foremost centers for viewing and studying Richter’s art in the world.

Lee Ann Torrans Looks at the DMA and the Gift to Dallas

In February 2005 the Dallas Museum of Art announced the unprecedented gift of modern and contemporary collections from Marguerite and Robert Hoffman, Cindy and Howard Rachofsky, and Deedie and Rusty Rose. The idea behind the joint gift came from the Hoffmans, who at the time co-chaired the Centennial Campaign, which was launched in 2003–04 to ensure the Dallas Museum of Art’s continuing stability and growth. To jumpstart the campaign, the Hoffmans issued a bold challenge: If the Museum reached its goal for the first phase of the campaign, they would bequeath to the Dallas Museum of Art their art collection and an endowment to care for the collection as well as make a generous gift to the campaign. The Rachofskys quickly joined and pledged their Richard Meier–designed House, an operating endowment to allow the House to be used for public purposes, and their extraordinary collection, to which they added outright gifts of artworks and campaign funds. The Roses followed by committing their collection, outright gifts of a number of artworks, and a major contribution of funds to the campaign.

Lee Ann Torrans Looks at the DMA and Joint Collection Gift

The joint collection gift is believed to be the first of its kind for museums in the United States and marks an important example of cultural leadership joining together to vest the city with their distinguished collections. Thanks to the enormous generosity of the Hoffmans, Rachofskys and Roses, as well as other individual and foundation sources, the Dallas Museum of Art’s Centennial Campaign has raised $133.5 million of its $185 million goal to date.

Lee Ann Torrans Looks at the DMA and Exhibitions

The exhibition is presented by JPMorgan Chase and made possible by the Contemporary Art Fund through the gifts of an anonymous donor, Arlene and John Dayton, Mr. and Mrs. Vernon Faulconer, Nancy and Tim Hanley, Marguerite and Robert Hoffman/The Hoffman Family Foundation, Cindy and Howard Rachofsky, Deedie and Rusty Rose, and Gayle and Paul Stoffel.

The Museum acknowledges generous funding from David Yurman, with additional support by the Fanchon and Howard Hallam Endowment Fund, Tenet Healthcare Foundation, and Sotheby’s.

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At the Dallas Museum of Art the extensive collection includes the two bird-form finials from Colombia, Sudi Region c. A.D. 500 to 1500. These were a gift from the Nora an John Wise Collection.

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