Photograph of a woman in a read frontier costume cooking inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a man wielding blacksmithing tools next to a fire outside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of furs hanging on a wooden wall beside the doorway towards a study inside of a pioneer house inside of Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a woman looking out of a window while wearing historical costumes inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a woman in a read frontier costume serving guests seated around a kitchen inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of two women sitting on a bench located by a mural of a lion in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840. The photo showcases the historic homes lining the neighborhood by being taken from behind the women.

Photograph of two women sitting on a bench located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840. The photo showcases the historic homes lining the neighborhood by being taken from behind the women.

Photograph of a woman looking out pottery displayed on a work table inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Text about the Nasher Sculpture Center in Dallas that was published in the "Essentials" section of a July 2004 Texas Highways magazine article.

Email from Candis Wheat to Randy Mallory dated July 9, 2003 regarding admission at the State Fair of Texas.

Draft of an article published in the July 2004 issue of Texas Highways magazine about Old City Park, the first public park in the city of Dallas.

Text for an article about the Nasher Sculpture Center in Dallas, Texas that was published in the July 2004 issue of Texas Highways magazine.

Query letter from Randy Mallory to Jill Lawless dated July 1, 2003 regarding a proposed piece about the Nasher Sculpture Center in Dallas, Texas.

Photograph of lambs grazing in a gated field outside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a man and woman dressed in frontier clothing while sitting outside of a pioneer house inside of Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a woman looking out pottery displayed on a work table inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Photograph of a woman looking out pottery displayed on a work table inside of a pioneer home located in Old City Park. The park is Dallas' first and oldest park, featuring historic houses and furnishings dating back to 1840.

Explore "Voltri VI, 1962," a striking sculpture by David Smith, featured at the Nasher Sculpture Center. During a fertile period in 1962, Smith crafted this masterpiece while working at a disused steel factory in Voltri, Italy. Using a cart for moving hot steel, he transformed it into an artful arrangement, welding a steel wedge to one end and adding large, vertical plates separated by a gap. The sculpture showcases an elegant contrast between irregular curving profiles and the mechanical undercarriage, embodying both monumentality and delicate balance.

Explore the captivating world of "Eviva Amore," a monumental steel sculpture by renowned artist Mark di Suvero, displayed in the Raymond and Patsy Nasher Collection at the Nasher Sculpture Center, Dallas, Texas. Embodying the spirit of constructivist exploration, this raw and weathered steel artwork pays homage to the passion of love with beams radiating outward from a central core. Weighing 22,000 pounds and spanning an impressive 47 feet, the sculpture's cantilevered elements strike a mesmerizing balance between industrial ruggedness and graceful elegance. Witness di Suvero's visionary fusion of art and architecture, as this exclamation of love stands as a testament to the enduring power of emotion.

"Eviva Amore" is a monumental steel sculpture by artist Mark di Suvero, showcased in the esteemed Raymond and Patsy Nasher Collection at the Nasher Sculpture Center in Dallas, Texas. With beams projecting from a central core, the raw, weathered steel artwork spanning 47 feet stands as an exclamation of love and passion. A powerful blend of industrial strength and elegant grace, it exemplifies di Suvero's artistic brilliance.

Discover the captivating allure of Alberto Giacometti's "Diego in a Sweater (Diego au chandail)," a timeless masterpiece that echoes the enduring dignity and grandeur of ancient sculptures while offering a profound commentary on the human condition in the modern age. As part of Giacometti's renowned series of standing women, this sculpture mesmerizes with its remarkable presence and evokes a sense of remote anonymity. Dating back to 1953, the artwork showcases the artist's unparalleled talent in capturing the essence of the human form, symbolizing the delicate fragility of life. Immerse yourself in the profound beauty and artistic genius that epitomizes Giacometti's exceptional contribution to the world of modern art.

Step into the surreal symphony of Joan Miró's "Seated Woman and Child (Femme assise et enfant)," an intriguing painted bronze sculpture housed in the Raymond and Patsy Nasher Collection at the Nasher Sculpture Center in Dallas, Texas. Crafted in 1967, this enchanting masterpiece stands 48 1/4 inches tall, captivating viewers with its whimsical exploration of found objects and vibrant colors. As you gaze upon the sculpture, the chair takes on multiple personas—a sturdy perch for an owl-like creature keeping watch atop, or the torso of a woman cradling a small red "baby" in her lap. Miró's delightful blend of playful analogies, bright hues, and contrasting forms creates a truly mesmerizing Surrealist experience, beckoning you to immerse yourself in the artist's imaginative world.

Delight in the enchanting world of Joan Miró's "Seated Woman and Child (Femme assise et enfant)," a captivating painted bronze sculpture. Created in 1967, this masterpiece stands at 48 1/4 inches tall, showcasing Miró's playful exploration of found objects and surrealistic concepts. The chair, transformed into a symbolic perch, serves as the foundation for an owl-like creature, keeping a watchful eye on its small red "baby" below. Alternatively, the chair takes on the form of a woman, with the top plaque becoming her head and the egg-like baby resting in her lap. Miró's brilliant use of bright colors and tactile contrasts between molten, irregular forms and carved regularity adds to the pleasure of this whimsical and imaginative creation, inviting viewers into a world of artistic wonder.

"Hammering Man," an iconic sculpture by Jonathan Borofsky, stands tall as a prominent exhibit in the Raymond and Patsy Nasher Collection at the Nasher Sculpture Center in Dallas, Texas. Crafted in 1984-85, this impressive piece features a massive figure with a bent head and a motorized arm continuously hammering up and down, symbolizing both the toil and heroism of labor. Borofsky infuses personal, political, and social meaning into the sculpture, idolizing the worker while also commenting on the mechanistic nature of the modern world. The repetitive motion of the arm serves as a poignant reminder of the fate of the individual in a technology-driven society. Notably, Borofsky eschews traditional signatures, choosing instead to number his work sequentially, further reinforcing his artistic expression of the human condition in the contemporary world.