Director’s Welcome

Richard R. Brettell, Ph.D.; Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

The W. Ray Wallace Athenaeum

The Edith O’Donnell Institute of Art History is already a vital part of the intellectual landscape of both UT Dallas and the art history community of North Texas. Our headquarters in the Edith O’Donnell Arts and Technology Building at UT Dallas and at the Dallas Museum of Art buzz with activity as visiting scholars, faculty, area art historians, museum professionals, graduate students, and members of the art-loving public come together for meals, discussions, formal seminars, lectures, and receptions.

But the ambitions that Mrs. O’Donnell has for her Institute of Art History are greater than those two headquarters can contain, and we are now ready to complete fundraising and begin construction on a much larger home for the O’Donnell Institute, to be called The W. Ray Wallace Athenaeum.

The Wallace Athenaeum will be built at the very center of campus and near its east entrance, allowing residents of Dallas’s northern suburbs to come together with University students, staff, and faculty in a new institution that will link what are usually the separate functions of museums, libraries, and academic teaching facilities.

We chose the word Athenaeum because it includes all of those functions under the umbrella of a term with roots in the very origin of western civilization in ancient Greece. The Wallace Athenaeum will be only the second such institution formed at a University; it is perhaps not an accident that the first was founded at the California Institute of Technology (CalTec) in 1929. Other Athenea in the United States are places where books and art create a context for people of all ages and levels of education to meet for discussions, reading groups, art groups, formal and informal courses, research, meals, and receptions. An Athenaeum is less about its collections than about the way people gather to use them to create knowledge.

To anchor the Athenaeum, a small group of world-class libraries will be combined in a new art history research library, among the best in Texas and the entire center of the U.S. It will be named after the largest library to come to UT Dallas, the Wildenstein-Plattner Library. Amassed over the course of the twentieth century by the Wildenstein family, it is the largest and finest private art library ever formed, comprising more than 250,000 volumes as well as rare pamphlets, prints, sales catalogues, exhibition catalogues, and art periodicals from the eighteenth century to the present. That library will be joined by the private library of Dr. Alessandra Comini, Professor Emerita at Southern Methodist University and the collector of over 34,000 volumes related to art and architecture in Europe, including central and northern Europe. The Comini Library will join the Wildenstein-Plattner Library along with portions of the private libraries of Mr. Nash Flores, S. Roger Horchow, Mr. and Mrs. Ivan Phillips, Peter and Perry Rathbone, Gail Sachson, Oliver Watson, John Wilcox, and myself as well as other libraries that will come to us in years ahead. Although a good deal of information about art is available digitally, web-based information is less accurate and comprehensive than the seven generations of art historical scholarship in print represented in these libraries.

Nona and Richard Barrett Collection of Swiss Art

The second exciting prospect is that the Nona and Richard Barrett Collection of Swiss Art will also be coming to UT Dallas, first as a loan and finally as a gift. Comprising more than 400 paintings and sculptures by every major artist born in Switzerland between 1600 and 1940 (with some rare earlier material), it is the largest private collection ever formed of Swiss art. Swiss art is not only fascinating and aesthetically diverse, but also among the least studied areas of European art history, giving our faculty, graduate students, and visiting scholars the chance to do important original research.

Crow Museum of Asian Art

Another development over the past months is the prospect that the Crow Museum of Asian Art will build a North Dallas facility at UT Dallas as part of the Wallace Athenaeum. The Crow will keep its Arts District facility with its intimate galleries for about 200 works of art from the collection. But, with a collection of around 1,000 objects from China, Japan, Korea, India, Pakistan, and Cambodia, the museum needs space for exhibitions and storage as well as for study and research. A collection of Asian and South Asian art is especially fitting at UT Dallas, since a significant portion of our faculty and student body are Asian or Asian-American, and the center for the large Asian population of greater Dallas is the city’s northern suburbs.

Bringing together the Wildenstein-Plattner Library, the Barrett Collection of Swiss Art, the Crow Museum of Asian Art, and the Edith O’Donnell Institute of Art History, as well as exhibition spaces, seminar rooms, a lecture/performance hall, and facilities for dining and events, current plans for the Athenaeum call for four interconnected buildings that open onto three enclosed gardens. These lush landscapes will have water features, seating, shady paths, and places to sit and meditate or simply to stroll. What better environment to reflect on the visual arts in world history than in a library, a museum, and an institute surrounded by gardens?

Mrs. W. Ray Wallace has made a naming gift of $10,000,000.00 and Mrs. Eugene McDermott has donated $5,000,000.00, so we are launched. With an additional sum of $5,000,000 we will officially begin the architectural and landscape plans. We hope to do this by summer of this year, and aim to break ground toward the end of 2018.


Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Greetings from the Associate Director

Dr. Sarah K. Kozlowski, Associate Director
The Edith O’Donnell Institute of Art History

Our Spring semester of academic programs began with two outstanding Workshop Talks from Edith O’Donnell Graduate Fellows Aditi Samarth and Fatemeh Tashakori, the first nearing completion of the dissertation and the second in the earliest stages of discovery. Samarth traces the transmission and adaptation of burial practices in Hindu diaspora communities (including Dallas); Tashakori is assembling and studying for the first time a group of Persian murals that reframe western images of the female body. Both deal with images, artworks, and ritual in circulation across space and time, overturning existing assumptions and imagining new ways of doing art history. Later this semester, Workshop Talks from our other O’Donnell Fellows will prove similarly generative. We are also looking ahead to putting together our next group of Fellows for the 2018-2019 academic year—a call for applications appears at the end of this newsletter.  Meanwhile, we are working hard on two research initiatives that will launch this Fall. In September, the O’Donnell Institute will assume stewardship of The Wilcox Space,with whom we have collaborated over the past five years to show and study the paintings and works on paper of the artist John Wilcox. In this next phase, we will dedicate The Wilcox Space to exhibiting and documenting the work of Dallas-based painters who, like Wilcox, engage with the craft and theory of the medium of painting. Exhibitions at The Wilcox Space will combine with open-access digital publications, public and academic programs, and a small artist’s library built around Wilcox’s own to create a forum or incubator for looking at and thinking about painting.

La Capraia at the Museo di Capodimonte

Also opening its doors this Fall is our new research center in Naples at the Museo di Capodimonte, the Center for the Art and Architectural History of Port Cities / Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali. On my most recent trip to Naples, we finalized a memorandum of understanding between the O’Donnell Institute and the Capodimonte and began work to prepare La Capraia (“the goat farm”), an eighteenth-century agricultural building at the heart of the Museum’s surrounding bosco, to welcome research residents and scholarly programs beginning in September. I also spent time visiting with colleagues at universities, research institutes, and libraries throughout Naples, in an effort to weave the Center into the scholarly life of the city from the very beginning. My hope is that the Center will become a place where scholars from Italy, the United States, and around the world will come together to think in new ways about the art histories of port cities and other centers of encounter, exchange, and transformation.

Dr. Sarah K. Kozlowski

Associate Director

The Edith O’Donnell Institute of Art History

EODIAH Celebrates Four Years

The Edith O’Donnell Institute of Art History at the University of Texas at Dallas celebrated its fourth academic year by honoring Edith O’Donnell, its inspirational founder, at a special dinner on Wednesday, November 29, 2017 in the Ann and Jack Graves Ballroom of the Davidson-Gundy Alumni Center located at UT Dallas.

The evening was hosted by Dr. Richard C. Benson, President of the University, and the Founding Director of the Institute, Dr. Richard R. Brettell.  Following a film tribute to Mrs. O’Donnell for her generosity and commitment to the arts, Dr. Brettell announced that major gifts have been received to begin plans to build the W. Ray Wallace Athenaeum which will house a new art library and major art collection that have been promised to the University.

In addition, he shared that the new headquarters of the O’Donnell Institute will be housed in the Wallace Athenaeum, which will be surrounded by gardens designed by Peter Walker, the world-renowned landscape architect behind the landscaping master plan funded by the University’s most important donor, Margaret McDermott.  With these gifts received, UT Dallas is poised to create The Wallace Athenaeum at the very center of its campus and to provide a place of inspiration and intellectual exchange in the arts on a campus dedicated to STEAM.

Attendees of the Fourth Annual Dinner included: Edith and Peter O’Donnell; Dr. Richard C. Benson, President, University of Texas at Dallas, and Leslie Benson; Dr. Richard R. Brettell, Founding Director of The Edith O’Donnell Institute of Art History, and Dr. Caroline Brettell; Gay and Bill Solomon; Mr. Richard Barrett; Carol Kradolfer; Ruth O’Donnell Mutch; Mrs. Margaret McDermott; Beatrice Carr Wallace; Caren Prothro; Dr. Hobson Wildenthal; Wendy and Jeremy Strick; Nancy Dedman; Rachael and Bob Dedman; Elizabeth Boeckman; Ann and Gabriel Barbier-Mueller; Roger Horchow; Mary McDermott Cook and Dan Patterson; Dr. Kern Wildenthal and Marnie Wildenthal; Mrs. Nancy Shutt; Mrs. Peter Denker; and Ms. Pat Patterson.

EODIAH thanks its many generous friends and supporters. We look forward to working with all of you to achieve our future plans. Stay tuned for more information and ways you may wish to support this ambitious project.

Edith O’Donnell; back row (left to right) Carol Kradolfer, Peter O’Donnell, Jill Wilkinson, Ruth Mutch, Travis Andres, Mary Gorter

Mary McDermott Cook and Dan Patterson

Margaret McDermott, Richard Barrett, and Dr. B. Hobson Wildenthal

(Left to right) Richard Barrett, Mrs. Ray Wallace, Dr. Richard Brettell

Dr. Caroline Brettell, Mrs. Ray Wallace, and Caroline Brown

Dr. Richard C. Benson, President of UT Dallas; and Mrs. Leslie Benson

Rachael and Bob Dedman, and Mrs. Nancy Dedman

Gay and Bill Solomon, and Ms. Salle Stemmons

To support EODIAH, please click here.

Your gift at any level helps fund our many collaborations, scholarly seminars, lectures and art history programs that provide an unparalleled resource to our community and beyond.

For more information, call Lucy Buchanan at (972) 883-2472 or email at


Lucy M. Buchanan

Director of Development

The Edith O’Donnell Institute of Art History

Art and Medicine at EODIAH

Bonnie Pitman, Distinguished Scholar in Residence, UT Dallas

The Art and Medicine program headed by UT Dallas Distinguished Scholar in Residence Bonnie Pitman began this year with many exciting new developments.


New Publications


Pitman published an article in The Journal of American Medicine Association (JAMA) highlighting contemporary artist Beverly Fishman, whose large-scale, pill-shaped reliefs explore intersections between the pharmaceutical industry, colors and surfaces of drugs, and relationships with illness. Fishman veneers her pill forms with slick layers of jarringly vibrant colors that shift and vibrate based on viewer perception. The confrontation of these wall-mounted abstractions with names such as “Untitled (Stacked Pills)” are meant to spark dialogue concerning the myriad ways medications have permeated and inform our culture.

Read the article, “Pharma Art – Abstract Medication in the Work of Beverly Fishman,” Journal of the American Medical Association here

Read more about Beverly Fishman


Beverly Fishman, Untitled (Stacked Pills), 2016 (right: detail). Urethane paint on wood, 149.9 cm × 121.9 cm × 5.1 cm. Photo courtesy of PD Rearick.






Art of Examination


This Spring 2018 semester sees 32 medical students from UT Southwestern enrolled in The Art of Examination, a preclinical elective focusing on developing skills for clinical diagnosis through looking at works of art. Now in its fourth year, Bonnie Pitman with faculty partners Heather Wickless, MD, Assistant Professor of Dermatology, UTSW; Courtney Crothers, UTSW Art Curator; and Dallas Museum of Art educators Lindsay O’Connor and Amy Copeland, instructs students in using the power of art to learn observation and communication skills related to working with patients.


Sessions are held at the Dallas Museum of Art, Nasher Sculpture Center, The Warehouse, The Crow Collection of Asian Art, and UT Southwestern Medical Campus to address topics including conservation, artists with disease, empathy, physician burnout, and cultural influences. Students learn to synthesize personal observations, knowledge, and experiences as they gain awareness of collaborative thinking and communication processes. The class engages students in discussions, drawing and writing exercises, lectures, and interactive experiences all designed to cultivate skills beneficial to clinical practice.


Art of Examination students learn new ways of relating to art by mirroring poses in the DMA’s European Art galleries.


Art of Examination students explore connections between art and science at the DMA Conservation Lab with DMA conservator Laura Hartman



Center for Brain Health


As the newly-named Director of Art – Brain Innovations at the UT Dallas Center for BrainHealth, Bonnie Pitman expands her research and teaching of the art of observation, meditation, and compassion. This Spring, Pitman will develop lectures and workshops that provide strategies to improve brain performance around her initiatives Do Something New®, her daily practice of focus and celebration of making an ordinary day extraordinary while dealing with chronic illness, and the Power of Observation, an initiative that connects neurological research with the experience and process of seeing, looking and observing.


Register for Bonnie Pitman’s upcoming Sips and Science talk on DO Something New!

April 12, 2018

6:30 pm – 8:00 pm

Center for Brain Health Campus


Report from the Edith O’Donnell Institute of Art History Research Center

Henri Matisse drawing with bamboo pole tipped with charcoal in his studio, Nice, France. Photo by Robert Capa





The Institute has an exciting array of programs for the spring semester. We will welcome an impressive list of guest presenters from important institutions across the country. From the Institute of Advanced Studies in Princeton, art historian Dr. Yve-Alain Bois will present his latest research on Henri Matisse’s adoption of the bamboo stick to draw his late stations of the cross, hosted by the Nasher Sculpture Center on March 27, 6:00 p.m. Our Visiting Research Professor Dr. Suzanne Preston Blier will give a public lecture on her book project on Picasso’s Demoiselles d’Avignon and his diverse sources of inspiration for the iconic work on April 5, 7:00 p.m. at the Dallas Museum of Art. Dr. Thomas Gaehtgens, Director of the Getty Research Institute, will discuss the impact of Gilded Age American collectors on Europe’s artistic patrimony from the perspective of the great German museum director Wilhelm von Bode on April 10, 7:30 p.m. at the DMA. Our graduate fellows will present their dissertation research throughout the semester, with topics ranging from early modern playbook title pages to new media race humor. The spring will culminate with Intersections: Visual Cultures of Islamic Cosmopolitanism, a collaboration between the O’Donnell Institute; the Islamic Art Revival Series, a program of the Texas Muslim Women’s Foundation; and the Agha Khan Council in Dallas. The symposium will be on May 4 – 5 at UT Dallas, the DMA, and Ismaili Jamatkhana Plano.


Our fifth vitrine exhibition, selected by DMA Curator Dr. Anne Bromberg, will be installed in late March. It will display a collection of Asian ceramics that correlate with Dr. Bromberg’s current exhibition, Asian Textiles: Art and Trade Along the Silk Road, which highlights the passage of luxury goods along the Silk Road between Asia, India, and Uzbekistan, among others. Be sure to spend time in the exhibition on Level 3 at the DMA before heading downstairs to see the ceramics on display in our vitrine.


We hope you can join us this spring at our many programs and look forward to the dialogues created by the new scholarship presented. Visit our website at and plan your calendar!


Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

ISAAC Report 2017-2018

The Institute welcomed our first group of ISAAC scholars from Nanjing University last fall and we took our first research trip in early October to Chicago. The Terra Foundation of American Art staff, Director Elizabeth Glassman, Curator PJ Brownlee, and Carrie Haslett, Program Director of Exhibition & Academic Grants, welcomed us to the city. A special tour of their impressive collection included early American landscapes, portraiture and genre painting.

Liu Yi and Gao Xin in the Terra Foundation’s art vault



ISAAC scholars at the Block Museum of Art’s study room with Curator Corinne Granoff

Our week included visits to significant American art museum collections including the Art Institute of Chicago and the Block Museum of Art at Northwestern University. Each institution’s curatorial staff graciously hosted our group and engaged in meaningful dialogue with the scholars. Midway through the week, we travelled to the South Side to meet renowned Chicago sculptor Richard Hunt at his studio. Executed in welded and cast steel, aluminum, copper, and bronze, Hunt’s abstract creations are in collections across the globe, including his 2016 installation at the National Museum of African-American History and Culture in Washington, D.C.

Gao Xin and artist Richard Hunt in his studio

We also had the opportunity to visit four private collections. Works by the Chicago Imagists featured prominently in two of the collections; another contained a comprehensive collection of photographs that spanned the history of the medium. The fourth displayed Arts and Crafts collections in settings created to reflect the aesthetics of the movement, including the work of Gustav Stickley.


Following Chicago was a trip in mid-October to New Mexico, with time in Santa Fe, Albuquerque, Abiquiú, and Taos. The scholars were introduced to the art, culture, history, and landscape of the Southwest. Our trip began with a drive to Albuquerque, the new home for Dallas artist Jean Lacy and her son Nathaniel Lacy, and her large collection of art and objects including folk art and Native American pottery. Lacy’s own work focuses on the African-American experience. She shared her recent work with the scholars, a series of cigar boxes that display small tableaus of found objects and text that respond to current issues of race and politics.



Gao Xin at the Georgia O’Keeffe Research Center with Director Eumie Imm Stroukoff





View from Georgia O’Keeffe’s Abiquiú Home and Studio

An important focus of the trip was on the life and work of Georgia O’Keeffe, with time at the O’Keeffe Museum and Research Center, and her Abiquiú home and studio. Scenic drives to and from our appointments revealed familiar landscapes and forms seen in O’Keeffe’s work. Other notable collections of folk art and Taos art were at the International Museum of Folk Art and the Harwood Museum respectively.

Dr. Zhou Xian in the International Folk Art Museum’s art storage with Curator Laura Addison

The scholars will take five more research trips this year before they return to Nanjing in August. Their travels will take them to Washington, D.C., up the Rockies from Denver to Cody, up the Mississippi from St. Louis to Minneapolis, to Philadelphia and New York City, and to Arkansas and Oklahoma. Opportunities to meet scholars, students, and collectors and to explore collections, archives, and libraries throughout the United States serve to train a new generation of Chinese art historians who are equipped to teach American art history at the university level throughout China.


Please join us on Tuesday, March 6th, 4:00 p.m. in the DMA Research Center for a research report from our ISAAC scholars. Liu Yi is working on a book about American landscape painting, and Gao Xin is working on a study of American Modernism and its interactions with various forms of European Modernism. Both are brilliant, personable, and very important for scholarly relations with China since each will write the first books in Chinese on American Art before 1945. Yi and Xin will each share their research projects and future plans to create an undergraduate seminar for their students upon their return to China. I hope you can join us in March and meet these exceptional scholars.


Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

Welcome to EODIAH’s New Business Administrator, Heidi Kessell

All of us at The Edith O’Donnell Institute are happy to introduce our new Business Administrator, Heidi Kessell. Born in Iowa and raised in Florida, Heidi earned a BA in Anthropology from Southern Methodist University. She has worked with the University of Texas System since 2010 and at UT Dallas since 2013. With her optimism, pragmatism, and encyclopedic knowledge of the University, Heidi has already become an invaluable part of the O’Donnell Institute family. Please stop by to welcome her into the fold!

Dr. Charissa Terranova, Associate Professor of Aesthetic Studies

The anthology D’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture: From Forces to Forms, coedited by Dr. Charissa N. Terranova Ellen K. Levy, has been contracted by Bloomsbury Press.

In November 2017, Terranova gave the talk, “Bacteriophiles Unite! The Protean Identity Politics of Bacteria within Bioart” at the annual meeting of the Society for Literature, Science, and the Arts in Tempe, Arizona. The paper was part of the panel Other Signals: Communication among Forms of Embodiment, chaired by Meredith Tromble.

In October 2017, Terranova went to the UK for research and to give a conference talk and three invited lectures. The conference talk was titled, “Space, Time, Visualization: D’Arcy Wentworth Thompson, Joseph Plateau, and the History of Art-Sci Imaging,” at the Centenary Celebration of D’Arcy Wentworth Thompson’s On Growth and Form, University of Dundee, in Scotland. Other talks included “Fearless Polymathy: The Morphogenic Modernism of British Art-Science-Design,” at LASER, Leonardo/The International Society for the Arts, Science, and Technology, in London and “Modeling Expanded Evolution: The Work of D’Arcy Wentworth Thompson, Stuart Kauffman, and Gemma Anderson,” at a workshop on D’Arcy Wentworth Thompson that was co-sponsored by the Lorentz Center and University of Amsterdam, Leiden, NL.

The Athenaeum Review: A New Review of Arts and Humanities

The Athenaeum Review (formerly Formwork) is a new publication of the UT Dallas School of Arts and Humanities, co-sponsored by the Edith O’Donnell Institute of Art History, whose mission is to share serious, thoughtful work in the arts and humanities with the general public.

The Athenaeum Review publishes essays, reviews and interviews by leading scholars, with a particular focus on exhibitions, performances, and other cultural and intellectual events in the Dallas-Fort Worth area, as well as the arts and books more generally. Our first issue will appear this fall, and include essays by Richard Brettell, Founding Director of the O’Donnell Institute, Charissa Terranova, associate professor, and Paul Galvez, postdoctoral research fellow at EODIAH.

For more information, please contact Benjamin Lima at


Virginia Curry, EODIAH Graduate Fellow

Virginia Curry, EODIAH Graduate Fellow and UTD doctoral student in Humanities and Aesthetic studies, has been selected to present a paper at the Annual Conference of the Association for Art History, this April.  This year’s theme is “Looking Outwards” and held at the Courtauld Institute of Art & King’s College, London.  Curry will present on the panel “From the Phoenicians to the Celts; Toward a Global Art and Architectural History of the Ancient Mediterranean”.  Her paper is titled, “Familia in Eternam: The Intimate Imagery of the Egalitarian Etruscan Couple”.  Its abstract is included below.


Familia in Eternam: The Intimate Imagery of the Egalitarian Etruscan Couple

Virginia M. Curry

The sculpted and incised figures on the sarcophagi and urns of Etruscan affinal couples, spanning the period from approximately 600 BCE to 100 BCE represent the ancestors of the families aligned in what some scholars consider as essentially theocratic regional leagues throughout Etruria. The sculpted and incised figures on these funerary urns often appear quite animated and intimately portrait-like. They are usually inscribed with the full names of the husband and the wife, including the full names of each of their parents. These elements suggest that proof of the preservation of their lineage was intentional because it was a continuous, active and consistent practice during this period. My original catalogue of the 44 known couple’s sarcophagi and urns demonstrates the Etruscans intention to artistically portray themselves as fervently religious, affectionate and joyfully banqueting together in the afterlife. This motif was later included in many individual urn bases in Volterra where some of the names of the deceased were adapted from the Etruscan language to Latin, but maintained Etruscan nomenclature. I argue that the strong insignia of ancestral and family unity appears to have retarded the pace of their Roman acculturation through this intelligent new kind of blended society. It allowed the Etruscans the opportunity to synthesize their iconic motifs, inscriptions and ancestry with that of the Romans, as their Etruscan ancestors lent the power of their agency as the ancestors of the Romans.

Farewell to Bill Jordan

William Jordan at his Turtle Creek home in Dallas, Aug. 9, 2017 (Cooper Neill/The New York Times)

When Bill Jordan moved to Dallas in 1967 to lead the art department at Southern Methodist University and form the collection of the incipient Meadows Museum, he was a recent Ph.D. with no experience either of the art market or with museum or university administration. Within a few short years, he had assembled the nucleus of the most distinguished collection of Spanish art in America outside the Hispanic Society in New York. A quick study, he learned the ways of the highly complex art market in European old master paintings, and with art historical training and an “eye” (as we said in those days), he could tell fakes, copies, and ruined paintings from authentic and correctly attributed ones, and could spot unknown pictures of real quality, snapping them up for little money because he knew that their attributions would come in time.

His keenly observant connoisseurship had few equals in the realm of Spanish painting, and as he learned the market for Spanish art he was able to shape the Meadows’ collection with both masterpieces by great artists and wonderful works by secondary ones. He did so with money provided by his patron, Algur Meadows, and this shy young man from San Antonio became a friend and confidant of one of the most powerful oil men in America. As the Meadows Museum strengthened and, particularly, after Mr. Meadows’ death, Bill became restless with his focused teaching and collecting at SMU and was hired in 1976 as an Adjunct Curator of European Art for the Dallas Museum of Art, continuing his work at SMU at the same time.

This move – inconsequential as it seemed—allowed him greater sway over the larger population of Dallas. Not only did he work to bring the landmark El Greco exhibition to the Dallas Museum of Fine Art in Fair Park in 1982-1983, but he also advised the trustees of the Museum and The Foundation for the Arts in their acquisitions. The most significant acquisition he masterminded was Courbet’s great 1860 Fox in the Snow, in 1979. This, an early acquisition of the John B. O’Hara Fund, was completely outside his field of art historical expertise and demonstrated the range of his knowledge both of art history and of the art market.

Bill’s years of experience at the Meadows and the DMA readied him to extend the range of his art historical responsibilities, and his good friend and former colleague Ted Pillsbury, Director of the Kimbell Art Museum, recognized that he didn’t have to go to New York or Europe for a talented and well-trained connoisseur of European art. Instead, he hired Bill, whose years in Fort Worth were as distinguished as those in Dallas. As Deputy Director at the Kimbell, Bill had the luxury of larger budgets for exhibitions and acquisitions and, together with Ted, was responsible for a string of brilliant additions to the collection and designed an exhibitions program that was the envy of museums throughout the world. Bill left the Kimbell in 1990 to become an independent scholar.

He did all of this without ever raising his voice, expressing an opinion in a strong manner, or making waves. Modesty and politeness were his calling cards—perhaps for that reason, he usually “got his way” with little struggle. As his career developed, his life-style changed from the casual informality of a young curator to an almost courtly style which he maintained with no pretention. I well remember taking my graduate students from UT Austin to his small house in the Park Cities in 1977 or 1978 to find the walls filled with old master and modern drawings, many in search of attributions that he soon provided. It was a classic curator’s collection.

Bill spent his later years with his life partner Robert Brownlee in a Turtle Creek apartment building in which most of the inhabitants had connections to the art world. The two men lived in an atmosphere of refined elegance, and their collection assumed greater importance with major drawings by artists like Delacroix and Cézanne, varied works of sculpture, and old master paintings. A combination of modern and traditional furniture formed a perfect frame for this supremely personal collection of art.

As with all else in Bill’s world, his life was private–easily opened up to friends from the global art community and from Dallas and Fort Worth society, but never trumpeted through publicity or frequent “art tours.” His world was shared with Robert and with their closest friends.

After the Kimbell years, Bill joined many boards both locally and nationally. He was an essential member of the boards of the Nasher Sculpture Center, The Dallas Museum of Art, and The Foundation for the Arts. His advice about acquisitions and exhibitions at the Meadows, a museum he essentially created, was only offered when sought and, fortunately, that was often. He also became involved with the Chinati Foundation in Marfa.

Bill financed his post-Kimbell years by working as a private art dealer, working with his usual discretion to bring works of art discerning museums and collectors together. Again, this highly successful avocation was never trumpeted, and many of his friends had no knowledge that his considerable eye was put to the benefit of others in the market. Although this part of his career is not usually mentioned as a capstone to a life of scholarship and museum work, it was no less important, and his careful placement of works of art in public and private collections was as distinguished as all other aspects of his varied career.

But Bill could never do just one thing at a time. In the past five years, Olivier Meslay involved him in the creation of an exhibition and scholarly catalogue of modern European drawings from local private collections at the DMA, and few projects at the Nasher or the DMA happened without his blessing. If Bill didn’t like something, he rarely said anything, but his friends and colleagues could always tell.

All agree that the high point of his long and distinguished career was his personal acquisition in 1988 of an anonymous seventeenth-century Spanish portrait of Phillip III of Spain. Bill was convinced that the painting was by no less than Velázquez, three of whose paintings he had acquired for the Meadows Museum and one for the Kimbell. He lived with it at home for many years, but when his attribution to Velázquez was widely recognized, Bill gave the invaluable portrait to the American Friends of the Prado Museum, where it is on display with the museum’s definitive collection of works by Velasquez. The English edition of the museum’s book on Phillip III has recently been released by the American Friends of Prado Museum. Bill’s supreme achievement as a scholar of Spanish art was recognized when the Prado appointed him to its board of directors.

The boy who was born in Nashville, raised in San Antonio, and educated in Virginia and New York, spent his life enriching Dallas and Fort Worth in so many ways that it is impossible to recount. He was, in short, the most important teacher and museum professional of his generation in Texas. Yet this final appointment to the board of directors of the greatest museum in Spain provided a real sense that his Texas career mattered to the world at large. In his final days in Clements Hospital in Dallas, he spent hours daily emailing friends far and wide, making plans for meetings, meals, trips, and projects that, sadly, will never happen. How we all wish they had.

At the O’Donnell Institute, our last memory of Bill came from his participation with art historians, conservators, and museum professionals from the U.S. and Spain at a scholars’ day co-sponsored by the Meadows and EODIAH. He looked pale and ill, but his eyes sparkled and he told stories and sharpened our observations with his thoughtful comments. It was to be his last visit to his beloved Meadows, and all of us with him will remember that day because we shared it with Bill.

Prado Museum Publication

The Prado Museum in Spain published in June 2017 a book on the discovery made by Mr. William B. Jordan of the oil on canvas painting, Portait of King Philip III, and its firm attribution to Diego Velázquez.
The publication in Spanish is available at the Prado bookstore.
It includes essays by: William B. Jordan, art historian; John Elliot, art historian; Javier Portus, Chief Curator of Spanish painting (up to 1700) at the Prado Museum; and Jaime García-Maiquez, member of the Technical Studio of the Conservation Dept. of the Prado Museum.
Since William B. Jordan donated the work to American Friends of the Prado Museum, the Prado made plans to publish the same book in English.

Gail Sachson Honored with Lifetime Achievement Award

Gail Sachson

Congratulations to Gail Sachson, MFA, SMU, founder and owner of “Ask Me About Art”, on her Lifetime Achievement Award given this November by the Business Council for the Arts, founded by Ray Nasher, to encourage businesses to support the Arts and Artists.

UNT Art Historian Jennifer Way: Scholar Report

Jennifer Way, University of North Texas, published “Mobilizing Craft: Diplomacy in the International Turn of American Art History,” in MODOS Revista de História da Arte 2 no. 1 (2018). Find it at
She presented “When photos lie to you: visual depictions of needs-based aid among the displaced in postcolonial Vietnam” at the American Historical Association annual conference, and she is chairing the session, “Cultures of Allegiance and Resistance: U.S. Efforts at Peace and Militarism through Art” at the 2018 annual conference of the Society for Historians of American Foreign Relations.
Her MA art history students are active in presenting their research, too. Current student Athena Buxton is presenting “Losing Her Space: Charlotte Salomon’s Leben? Oder Theater? and Inaccessible Places” at Things Left Behind: Material Culture, Disaster, and the Human Experience, University of Missouri, Art History and Archaeology Graduate Student Association Symposium. A recent graduate of the program, Isabel Lee, is presenting  “Soft American Power? ca 1970, Contemporary Art from Lebanon,” in the Art in Middle Eastern Diplomacy session at College Art Association annual conference, Los Angeles.

Art History Community Mourns the Loss of Curator Nicole Atzbach

Nicole Atzbach, the tenacious and brilliant curator at the Meadows Museum and a true friend of the Edith O’Donnell Institute of Art History, passed away on November 4, 2017 after a battle with cancer. Active until weeks before her death, she involved herself with her usual gusto in what was to be her final project, a fascinating exhibition juxtaposing Cubist still-life and landscape paintings by Diego Rivera and Pablo Picasso. Her aim was nothing less than revolutionary for art history: to demonstrate that the Mexican expatriate actually engaged the now famous Picasso in a kind of duel of formal invention, particularly in creating paintings that combined elements of the still-life and landscape genres. The exhibition, though small, was revelatory, and it capped what was a short but significant career as curator at the Meadows Museum. We at EODIAH shall all miss our late colleague.

A memorial service in celebration of her life was held at the Museum on Saturday, Dec. 9, at 3 p.m. In lieu of flowers, the family requested that donations to a scholarship fund set up by them for her children may be sent to Geoff Atzbach, 3020 Hollycrest Dr., Colorado Springs, CO 80920.

Read more from SMU’s website


Dallas Museum of Art News and Exhibitions

New Year, NICE Numbers
The DMA began the new year with a record-setting end to 2017. In calendar year 2017, 882,451 people visited the Museum, a 25% increase over last year, marking the best calendar year yet since returning to free general admission in January 2013. In July we announced that the DMA had ended its 2017 fiscal year with its highest attendance in a decade, and the second highest in the Museum’s history. The Museum welcomed 802,870 visitors in FY 2017, with the landmark presentation of México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde drawing more than 125,000 visitors, and making Eugene McDermott Director Dr. Agustín Arteaga’s first anniversary a truly happy one.

Vision Seeking
The year 2018 also began with the opening of Hopi Visions: Journey of the Human Spirit, curated by Dr. Kimberly L. Jones. A wonderful example of the DMA’s continued commitment to presenting diverse cultures and the best art each creates, the DMA is honored to be the first location outside of the Museum of Northern Arizona to show the impressive mural by Hopi artists Michael Kabotie and Delbridge Honanie. This beautiful work depicts the history of the Hopi people and is accompanied by significant works from the DMA’s collection, from ancient to contemporary. Ed Kabotie, Michael’s son, was in Dallas for the opening week of the exhibition, where he shared his story as an artist, as well as the story of his father and Delbridge as artists. The exhibition is included in free general admission and on view through early December.

Hopi Visions was Dr. Jones’s last exhibition at the DMA. She and her husband are moving to Abu Dhabi, where he has accepted a new position.

Julian Onderdonk, Untitled (Field of Bluebonnets), Dallas Museum of Art

Ambassador Row
This winter four works from the DMA’s collection will be installed at Truman Hall in Brussels, Belgium, the US NATO Mission residence of The Honorable Kay Bailey Hutchison, the US Ambassador to NATO. The Ambassador, who previously served as a US Senator from Texas, requested the DMA works through the State Department’s “Art in Embassies” program to promote cultural diplomacy. They include paintings by Lone Star State artists Frank Klepper, Reveau Bassett, and Julian Onderdonk, and the incomparable British statesman and “Sunday” painter Winston Churchill. The DMA “NATO exhibition” will remain on view for up to three years to coincide with Ambassador Hutchison’s tour of duty.

Five Decades of Deep Commitment
In January, Texas Instruments and the TI Foundation announced the establishment of a philanthropic fellowship program to honor its founders’ long legacy of giving back. Funded by a $2.1 million TI Foundation grant, the TI Founders Leadership Fellows program provides three annual nonprofit work experiences to university or graduate students planning a nonprofit career. The fellowships, designed to build a pipeline of nonprofit leaders in the Dallas area over the next 20 years, were established in collaboration with three local organizations with strong ties to TI’s founders: the Dallas Museum of Art, the University of Texas at Dallas, and United Way of Metropolitan Dallas.

The TI Foundation, which has provided tremendous support to the DMA for over half a century, is also a presenting sponsor this year of The Power of Gold: Asante Royal Regalia from Ghana. Organized by the DMA and inspired by the Museum’s collection, it is the first American museum exhibition dedicated to Asante regalia in over 30 years.

Jacques Blanchard, Zeus and Semele, c. 1632, oil on canvas, Dallas Museum of Art

Piet Mondrian, The Sea (Ocean 2) (verso), Dallas Museum of Art

Woman with a Lamp (1909) , Dallas Museum of Art

Three Gifts of Art by Three European Masters
The DMA recently announced the gift of three major works of European art that reflect the extraordinary generosity of Dallas collectors and their dedication to expanding the Museum’s collection in meaningful ways. Zeus and Semele is a recently rediscovered masterwork by the important 17th-century Baroque painter Jacques Blanchard. Although not as well known today–a fate related to the artist’s early death at 37 and resulting scarcity of his work—Blanchard was celebrated in his day for his richly hued and sensual subjects inspired by 16th-century Venetian painting. Through the generosity of collectors Thomas C. and Jeanne Campbell, who gifted this exceedingly rare and remarkable painting to the Museum’s Foundation for the Arts Collection, the DMA continues to expand its Old Master collection with exceptional works of art.

Ann Jacobus Folz’s gave two amazing examples of European Modernism reinforcing the Museum’s impressive holdings of early 20th-century art. The first is an impressive scaled, double-sided charcoal drawing by the modern master Piet Mondrian, the eleventh example by Mondrian to enter the collection. The DMA has the second largest holdings of his work in the U.S. thanks to the continued generous giving of Dallas collectors. The front side boasts an evocative, almost painterly drawing that relates closely to the painting Farm Near Duivendrecht, in the Evening (c. 1916) in the Museum’s collection. On the back, an abstract composition titled The Sea (Ocean 2) reveals the beginning of Mondrian’s move away from representational imagery toward the grid structure that would become a hallmark of later works. “This crucial intermediary phase of Mondrian’s stylistic development was, until now, missing from the collection,” noted Dr. Nicole Myers, the DMA’s Lillian and James H. Clark Curator of European Painting and Sculpture. “With this gift, our visitors will be able to experience the dramatic transformation of Mondrian’s approach—from Post-Impressionism to Abstraction—as it unfolds across the walls of our galleries.”

The Museum also acquired from Folz a significant painting by Pierre Bonnard, its seventeenth work by this influential Modern artist. In spite of the Museum’s deep holdings, Woman with a Lamp (1909) is the first acquisition that captures Bonnard’s transition from the decorative Nabi aesthetic of the 1890s to his more abstract, brightly hued paintings from the 1920s on.

On view at the DMA this Winter/Spring:

Yayoi Kusama: All the Eternal Love I Have for the Pumpkins
Stoffel Quadrant Gallery

Young Masters 2018
February 24 to April 15, 2018
Exclusively at the DMA

Edward Steichen: In Exaltation of Flowers
Through May 13, 2018
Rachofsky Quadrant Gallery
DMA Organized; Exclusively at the DMA

Paris at the Turn of the Century
Through May 27, 2018
Level 2
DMA Organized; Exclusively at the DMA

Laura Owens
March 25 to July 29, 2018
Hoffman Galleries

The Power of Gold: Asante Royal Regalia from Ghana
April 15 to August 12, 2018
DMA Organized; Exclusively at the DMA

Hopi Visions: Journey of the Human Spirit
Through December 2, 2018
Focus II
DMA Organized; Exclusively at the DMA

Asian Textiles: Art and Trade Along the Silk Road
Through December 9, 2018
Level 3
DMA Organized; Exclusively at the DMA

The Keir Collection of Islamic Art Gallery
Through April 26, 2020
Focus I
DMA Organized; Exclusively at the DMA

Crow Collection of Asian Art Exhibitions, Lectures, and Events

Kwon, Soon Hyung (b. 1929)
Porcelain clay body



Earthly Splendor: Korean Ceramics from the Collection

January 20 – ongoing

This exhibition pairs outstanding examples of contemporary Korean ceramics with historical Korean ceramics from the museum’s permanent collection to highlight the material, aesthetic, stylistic, and technical developments of Korean ceramics throughout history.


Fierce Loyalty: A Samurai Complete


The exhibition features an exquisitely crafted and perfectly preserved samurai suit of armor worn by Abe Masayoshi (1700-1769), Lord of Fukuyama Fiefdom in the Edo period (1603–1868). It also includes a 17th-century pair of Kasen-zu byōbu, or battle screens, which depict the important historical battle of Yashima from the Genpei War (1180–1185), which was fought between the Minamoto and Taira families.





Breathe: Art and Wellness Workshop

Sat. March 10 10:00am-2:00pm

Now in its third year, the Breathe program invites local veterans and first responders to gather for monthly workshops centered around the practices of qigong and art-making. March’s workshop will introduce the Japanese art of Kitsugi, which involves piecing broken ceramics back together with resin and powdered gold.

This month’s Qigong practice will focus on the second of eight principles: Rising Energy. The Crow Collection is proud to partner with SimplyAware to offer quality Qigong training for each workshop. Rooted in Traditional Chinese Medicine, the practice of Qigong involves simple movement to improve breathing, posture, and mental focus. Learn more about Qigong with the video below of SimplyAware instructor Chris Bouguyon demonstrating the Golden Ball practice.


Breathe: Art and Wellness Workshop

Sat. April 21 10:00am-2:00pm

Now in its third year, the Breathe program invites local veterans and first responders to gather for monthly workshops centered around the practices of Qigong and art-makingIn April, participants will explore photography and work together to capture moments in the city and in nature outside of the museum (weather permitting). In May, you will use these photos to create a multi-media collage.

This month’s Qigong practice will focus on the third of eight principles: Minding the Breath. The Crow Collection is proud to partner with SimplyAware to offer quality qigong training for each workshop. Rooted in Traditional Chinese Medicine, the practice of qigong involves simple movement to improve breathing, posture, and mental focus. Learn more about Qigong with the video below of SimplyAware instructor Chris Bouguyon demonstrating the Golden Ball practice.




Bloom and Give Trunk Show at the Lotus Shop

Friday March 23 and Saturday March 24 12:00pm-5:00pm

Bloom and Give’s products are created by small co-ops in India that share their relentless pursuit of excellence and quality, and their belief in a fair wage. Their products include handmade scarves, home goods, and bags, and their goal is to use age-old techniques to create contemporary designs that can be enjoyed in everyday life. Proceeds from this trunk show will go towards education programs for girls in India!


Julie Cohn Trunk Show at the Lotus Shop

Friday April 27 and Saturday April 28 12:00pm-5:00pm

Julie Cohn Design uses old-world casting techniques to create modern artifacts. Made in America, each piece has been carved in wax by the designer and finished by hand in Dallas. All of Julie’s creative endeavors have come together to form her unique vision and aesthetic, and her pieces are all about possibilities for layering and stacking to create one-of-a-kind collages or small sculptures that uniquely juxtapose disparate elements with simple elegance.




Here’s the weekday wellness breakdown. All classes are free, and no registration is necessary. Free two-hour parking validation for Friends of the Crow Collection

Classes take place at 2001 Ross Ave. Suite 3550 – Crow Collection of Asian Art Offices on the 35th floor of Trammell Crow Center.


Mondays – Mindfulness Meditation

12:00 – 12:45pm

Begin your week by resetting and recharging as a counterpoint to the chaotic movement of life. Create an opportunity for the body and mind to connect with the breath and explore a peaceful presence in the moment. Join this guided group meditation to experience a deeper sense of awareness, increase your attention and focus, and enhance self-insight. All levels are welcome. Come as you are: these programs are designed for professionals in business attire. This class will be led by Michael Lavalle PhD.

Tuesdays – Qigong

12:00 – 1:00pm

Qigong (pronounced chee gung) is sometimes described as “the soul of tai chi.” Dating back 4500 years, Qigong is considered one of the catalysts of traditional Chinese medicine practices. This class promotes flexibility, balance, and strength in the body through gentle, flowing movements. This class will be led by Sifu Fayne Bouguyon, LMT of SimplyAware.


Wednesdays – Tai Chi

12:00 – 1:00pm

Tai chi (also known as tai chi chuan or tai ji) is a Chinese traditional art of movement that is widely known for its graceful, meditative form. This class follows a series of movements practiced in a slow, focused manner to decrease stress, increase balance and agility, and promote overall physical and mental well-being. This class will be led by Greg Young of White Rock Tai Chi.


Thursdays – Restorative Yoga

12:00 – 1:00pm

Restorative yoga has many benefits including increased flexibility, decreased stress, and lowered blood pressure. This class involves relaxing yoga poses using blankets and other props to support the body as you rest. This class will be led by Erin Brandao E-RYT 500.


Fridays – The Relaxation Room

12:00 – 1:00pm

On Fridays from noon-1:00 PM the Center for Contemplative Leadership will be open for anyone to come and sit and breathe. Self-guided meditation instructions will be provided for any interested.


Amon Carter Museum of American Art Exhibitions and Events

William Zorach (1887–1966)
The Artist’s Daughter, 1930
© Reproduced with permission of the Zorach Collection, LLC
Smithsonian American Art Museum, gift of Tessim Zorach, 1968.25, image courtesy of Smithsonian American Art Museum

A New American Sculpture 1914–1945: Lachaise, Laurent, Nadelman and Zorach
Through May 13

In Her Image: Photographs by Rania Matar
Through June 17
Ellen Carey: Dings, Pulls, and Shadows
Through July 22
Jan Staller: CYCLE & SAVED
Through August 19
Commanding Space: Women Sculptors of Texas
Through November 18
Artist Lecture: James Surls
March 29, 6:30 p.m.
Artist Lecture and Book Signing: Rania Matar
April 28, 10:30 a.m.
Yoga in the Galleries*
April 3, 10, 17, 7 a.m.
April 5, 12, 19, 5:30 p.m.
*Register online at
Spring Break at the Amon Carter
March 13–16, 1–3 p.m.
Ages 10 to 16
Visit the Amon Carter museum website for more information.

Kimbell Art Museum Exhibitions and Lectures



From the Lands of Asia: The Sam and Myrna Myers Collection

March 4, 2018 to August 19, 2018

When Americans Samuel and Myrna Myers visited Paris in the mid-1960s, they became so enamored with the city that they decided to make their home there. This was where they built an extraordinary collection that until now has never be exhibited publicly. Over the course of more than 40 years, the Myers assembled some 5,000 works of art that, together, offer a very personal vision of the world of Asian art. This exhibition will present over 400 objects selected from this remarkable collection, with works representing key periods in the history of the art of China, Japan, Tibet, Mongolia, Korea and Vietnam.


Symposium and Lectures



From the Lands of Asia: The Sam and Myrna Myers Collection

SATURDAY, MARCH 3, 10 am–1 pm


A Quest for Asian Art: The Spirit of the Myers Collection, Jean-Paul Desroches, senior curator of the French National Patrimony

Radiant Stones: The Importance of Jade in Chinese Culture, Filippo Salviati, professor, department of Oriental studies, “La Sapienza” University, Rome

Chinese Silk: Conspicuous Consumption and Lucrative Trade, John E. Vollmer, independent scholar, New York

Stories for My Children and Grandchildren: A Conversation with Sam MyersModerated by Jean-Paul Desroches and Jennifer Casler Price


Wednesday Series: Art in Context

APRIL 4, 12:30 pm

Art and Diplomacy: The Sculptural Brilliance of Ancient Ife

Suzanne Preston Blier, Allen Whitehill Clowes Chair of Fine Arts and of African and African American Studies, Harvard University, Cambridge, Massachusetts


Friday Evening Lecture

APRIL 6, 6 pm

Transcendent Specifics: Buddhist Arts of Tibet, Japan, Korea, and China

Katherine Anne Paul, curator, arts of Asia, Newark Museum, New Jersey


The Artist’s Eye

April 21, 11 am   Swang Lin, associate concertmaster, Ann Koonsman Chair, Fort Worth Symphony Orchestra


Wednesday Series: Art in Context

APRIL 25, 12:30 pm

Journey to Peru: The Wari, the Inca, and the Road to Machu Picchu

Jennifer Casler Price, curator for Asian and non-Western art, Kimbell Art Museum


Wednesday Series: Art in Context

MAy 9, 12:30 pm

Delacroix: Taking a Close Look

Peter Van de Moortel, assistant conservator of paintings, Kimbell Art Museum


Friday Evening Lecture

MAY 11, 6 pm

Shimmering Splendor, Woven Wealth: Silk in Imperial China and Beyond

Lee Talbot, curator, Eastern Hemisphere Collections, The George Washington University and The Textile Museum, Washington, DC


The Artist’s Eye

MAY 19, 11 am   Albert S. Komatsu, architect, Fort Worth


Meadows Museum Exhibitions and Lectures

Eduardo Chillida (Spanish, 1924–2002), Gure aitaren etxea (1ª versión Nº 2) / Our Father’s House (1st Version No. 2), 1985. Iron. © Zabalaga-Leku. ARS, New York / VEGAP, Madrid, 2017. Courtesy The Estate of Eduardo Chillida and Hauser & Wirth


Memory, Mind, Matter: The Sculpture of Eduardo Chillida

February 4 –  June 3, 2018

This spring, the Meadows Museum will present Dallas’s first exhibition dedicated exclusively to the work of Eduardo Chillida (1924–2002). Chillida, one of Spain’s most celebrated modern sculptors, is famous for his monumental iron and stone sculptures that shape both urban and rural landscapes. This exhibition includes 66 of the artist’s works, from his sculptures, to his drawings, collages, gravitations, graphic works, and a selection of his books. Co-curated by William Jeffett, chief curator of exhibitions for The Dalí Museum, and Ignacio Chillida, the artist’s son, the works in Memory, Mind, Matter: The Sculpture of Eduardo Chillida come exclusively from the Museo Chillida-Leku in Hernani (San Sebastián, Spain); the exhibition travels to Dallas from the Salvador Dalí Museum in St. Petersburg, Florida. A complimentary exhibition, Chillida in Dallas: De Musica at the Meyerson, is curated by Meadows/Mellon/Prado Curatorial Fellow Amanda W. Dotseth and will focus on the landmark commission by Chillida at Dallas’s Morton H. Meyerson Symphony Center. The two exhibitions will open on February 4, 2018, and run through June 3.


Eduardo Chillida, Year 1963. Photo: Budd, N.Y. © Zabalaga-Leku. ARS, New York / VEGAP, Madrid, 2017. Courtesy The Estate of Eduardo Chillida and Hauser & Wirth



Dalí: Poetics of the Small

The Meadows Museum, SMU, will present the first in-depth exploration of the small-scale paintings of Salvador Dalí (1904–1989). While many of Dalí’s canvases are known around the world and are among the defining works of the Surrealist movement, the small size of many of these works is frequently overlooked. Nearly half of the artist’s paintings during the early part of his Surrealist period (1929–1936) were actually small format works: some measuring just over a foot, and others as small as 3 x 2 in. Organized by the Meadows as part of its mission to present Spanish art in America, Dalí: Poetics of the Small will be on view at the Meadows Museum—the only venue for this exhibition—from September 9–December 9, 2018.
Read more at the Meadows website.

Salvador Dalí (Spanish, 1904–1989), The Fish Man (L’homme poisson), 1930. Oil on canvas, 10 1⁄2 x 7 1⁄2 in. (26.7 x 19.1 cm). Meadows Museum, SMU, Dallas. Museum Purchase with funds from The Meadows Foundation; Hollyand Doug Deason; Mrs. Eugene McDermott; Linda P. and William A. Custard; and Gwen and Richard Irwin, MM.2014.11. Photo by Brad Flowers. © 2018 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society

Lectures, Symposia, and Events

Thursday, March 1, 5:30 PM
purple square MUSIC AT THE MEADOWS
Oldovini Organ Recital
Larry Palmer, professor emeritus of harpsichord and organ, SMU
Enjoy these special opportunities to experience centuries-old music on an eighteenth-century organ surrounded by masterworks in the Meadows Museum’s permanent collection.
Virginia Meadows Galleries


Friday, March 2, 12:15 PM
green square GALLERY TALK
Women of the Art World and Works of Baroque Seville
Alicia Zuese, associate professor of Spanish, Dedman College of Humanities & Sciences
Free with regular Museum admission
Jake and Nancy Hamon Galleries


Thursday, March 8, 6:00 p.m.
The Medieval World in a Spanish Context
Julian Raby, Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and Freer Gallery of Art
Description to come
Free; reservations required at 214.768.8587
Bob and Jean Smith Auditorium


Friday, March 9, 10:00 a.m.-5:00 p.m.
purple square SYMPOSIUM
The Medieval World in a Spanish Context
Ana Cabrera, Th­e Victoria & Albert Museum/Museo Nacional de Arte Decorativo, Madrid
Jordi Camps, chief curator of Romanesque art, Museu Nacional d’Art de Catalunya
Heather Ecker, principal, Viridian Projects
Charles T. Little, curator, The Metropolitan Museum of Art
Therese Martín, tenured scholar, Spanish National Research Council, Madrid
Christine Sciacca, ­ associate curator of European art, 300–1400 CE, The Walters Art Museum
Shannon Wearing, affiliate, UCLA Center for Medieval and Renaissance Studies

Organized by Amanda W. Dotseth, the Meadows/Mellon/Prado curatorial fellow, this symposium brings together international scholars on the art of the Middle Ages to explore the breadth of objects found within the context of Spanish collections, both medieval and modern. From Islamic textiles and metalwork to North African ivory, manuscripts of varied manufacture, and Scandinavian red deer antler, the materials and production methods found in Spanish contexts reflect the diversity of the medieval world.
Free; reservations required at 214.768.8587
Bob and Jean Smith Auditorium


Thursday, March 22, 6:00 p.m.
red square LECTURE
From Rodin to Plensa: Modern Sculpture at the Meadows Museum
Steven A. Nash, former director, Palm Springs Art Museum; founding director, Nasher Sculpture Center, Dallas
Laura Wilson, photographer, Dallas
Join us for a special double lecture as we launch the publication of From Rodin to Plensa: Modern Sculpture at the Meadows Museum. ­This beautifully designed permanent collection catalogue features new research by Nash about the objects in the Elizabeth Meadows Sculpture collection, along with artistic photographs of the sculptures by Wilson. ­The stunning images Wilson captured for this exceptional book set it apart from a typical catalogue, making it a work of art in its own right. Each will share their experiences working on the project. ­This program will be followed by a reception and book signing with the author and photographer; books can be pre-purchased when making reservations.
Free (does not include book); reservations required at 214.768.8587
Bob and Jean Smith Auditorium


Friday, March 23, 10:00 a.m.–4:00 p.m.
purple square WORKSHOP
Art+Feminism Wikipedia Edit-a-thon
In honor of Women’s History Month, the Meadows Museum again collaborates with The Cedars Union on a community event to teach people how to edit, update, and add articles on Wikipedia, in order to bring meaningful change to the knowledge available about female artists and art world figures, and encourage greater female editorship on Wikipedia. All are welcome, regardless of experience, gender or background. Event is come and go.
FREE; learn more and register
Constantin Foundation Seminar Room


Friday, April 19, 6:00 p.m.
red square LECTURE
Lightness and Rightness: Eduardo Chillida and James Johnson Sweeney in the Museum of Fine Arts, Houston
Beatriz Cordero, professor, Saint Louis University, Madrid
This lecture will focus on Eduardo Chillida’s exhibition at the Museum of Fine Arts, Houston in 1966, the first show of the Spanish artist outside Europe. In this exhibition James Johnson Sweeney, then director of the MFAH, offered an insightful view of Chillida’s sculpture. He underlined the “lightness and rightness” of Chillida’s works, as well as the artist’s roots in Spanish artistic traditions. Sweeney’s consideration of Chillida as a “tastebreaker” and as “the foremost sculptor of his generation” anticipated the later understanding of the qualities of his works.
Free; reservations required at 214.768.8587
Bob and Jean Smith Auditorium


Friday, April 20, 12:15 p.m.
green square GALLERY TALK
Chillida in Dallas Part I: Chillida Downtown
Jed Morse, chief curator, Nasher Sculpture Center
Free; reservations required at 214.768.8587
Nasher Sculpture Center and Morton H. Meyerson Symphony Center*
* Note: Participants will be walking between the two institutions.


Saturday, April 21, 10:00 a.m. to 1:00 p.m.
purple square Meadows Family Day: Founders’ Day Celebration
Visitors of all ages can explore the sculptures and works on paper of Eduardo Chillida. Activities will include hands-on 2-D and 3-D art projects, and sensory approaches engaging visitors through sight, sound, touch, taste, and smell. Enjoy special entertainment, activities, refreshments, and more!


Thursday, April 26, 5:30 p.m.
purple square MUSIC AT THE MEADOWS
Oldovini Organ Recital
Larry Palmer, professor emeritus of harpsichord and organ, SMU
Enjoy these special opportunities to experience centuries-old music on an eighteenth-century organ surrounded by masterworks in the Meadows Museum’s permanent collection.
Virginia Meadows Galleries


Friday, April 27, 12:15 p.m.
green square GALLERY TALK
Chillida in Dallas Part II: Chillida in Dallas
Scott Winterrowd, director of education
Free with regular Museum admission
Downstairs Galleries


Thursday, May 31, 6:00-7:30 p.m.
(All dates: May 31, June 7 & 14)
Light, Camera, Landscape: The Rise of International Impressionism
Nancy Cohen Israel, art historian and owner of Art à la Carte
Technological advances in the nineteenth century made it possible for artists to work en plein air. ­The advent of train travel and tubed pigments beckoned urban artists to villages such as Barbizon and Fontainbleau. Taking full advantage of natural light, these painters started an artistic revolution. Not only did the Paris School become a magnet attracting artists from across Europe and the United States, but it ultimately sent them back to their home countries, bringing this radical new style with them. ­This series will trace the rise of Impressionism in France, the offshoots of painters in Spain and Italy, and the aftershocks that it sent throughout the West.
$40 for the 3-part series; free for Museum members, and SMU faculty, staff, and students; registration required at 214.768.8587
Bob and Jean Smith Auditorium

Modern Art Museum of Fort Worth Exhibitions

Nina Chanel Abney, Hobson’s Choice, 2017
Acrylic and spray paint on canvas
Unframed: 84 1/4 × 120 1/4 × 2 inches
Nasher Museum of Art at Duke University; Museum purchase.

FOCUS: Nina Chanel Abney

January 27 – March 18

Nina Chanel Abney’s paintings are visually frenetic, reflecting the fast-paced energy of life today. Her imagery refers to such diverse subjects as pop culture, world events, and art history in compositions with flattened, simplified forms. Abney’s works commonly incorporate snippets of text, disembodied figures and silhouettes, and geometric abstract shapes. Themes that relate to American society, including celebrity culture, race, sexuality, and police brutality, are broached in her paintings. By touching on serious subjects in a colorful palette and graphic style, Abney’s work is, as the artist states, “easy to swallow, hard to digest.”

New Works by Ron Mueck

February 16 – May 6

In 2007, the Modern Art Museum of Fort Worth hosted Ron Mueck, featuring the artist’s figures that are extraordinarily realistic, except in scale-they are always depicted much smaller or larger than life. The exhibition broke attendance records for the Museum as Mueck’s stunning works became a must-see for visitors from across the region. Now a decade later, Ron Mueck returns to the Modern for a special project showcasing seven major works created between 2008 and 2018, including a new sculpture debuting in Fort Worth.

Ron Mueck, Woman with Shopping, 2013. Mixed media
113 x 49 x 34 cm / 44 1/2 x 19 1/4 x 13 3/8 inches
Photo: Patrick Gries. Copyright Ron Mueck.
Courtesy the artist, Anthony d’Offay, London and Hauser & Wirth


Kamrooz Aram, Ornamental Composition for Social Space 1, 2006

FOCUS: Kamrooz Aram

March 31 – June 17

Spanning painting, sculpture, collage, and installation, Kamrooz Aram’s work investigates the complex relationship between Western modernism and classical non-Western art. By highlighting their formal connections, he reveals the typically downplayed role that non-Western art and design have played in the development of modernism and its drive toward abstraction. Challenging the traditionally Euro-centric narrative established by art history, Aram’s work sets forth to disrupt this perceived hierarchy by merging and equalizing Western and non-Western forms. The artist will present all new work for this exhibition.


June 10 – September 16

Known for his collaborations with pop icon Kanye West and fashion house Louis Vuitton, and for vibrant anime-inspired characters, Japanese artist Takashi Murakami has blurred the boundaries throughout his career between high and low culture, ancient and modern, East and West. Organized by the Museum of Contemporary Art, Chicago, the exhibition is a major retrospective of his paintings, featuring fifty works that span three decades of his career, from the artist’s earliest mature works to his recent, monumentally scaled paintings.

The exhibition shows how Murakami’s art is rooted in traditions of Japanese painting and folklore, and highlights the artist’s careful attention to craft and materials. It also showcases the artist’s astute eye for the contemporary influences of globalization, media culture, the continued threats of nuclear power.

Takashi Murakami, Klein’s Pot A, 1994-97
Acrylic on canvas mounted on board in plexiglass box (optional)
15 3/8 x 15 3/8 x 3 3/8 inches
Colección Pérez Simón, Mexico
© 1994-97 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Photo: Yoshitaka Uchida


Nasher Sculpture Center Exhibitions and Events

First Sculpture: Handaxe to Figure Stone
January 27, 2018 – April 29, 2018
Groundbreaking exhibition presents ancient tools and gathered objects as evidence of the earliest forms of artistic intention
First Sculpture: Handaxe to Figure Stone, an exhibition exploring prehistoric tools and collected objects as evidence of the beginnings of artistic intention and craft, is the first museum exhibition to present ancient handaxes as works of art. Traditionally understood as the longest-used tool in human history, the handaxe is equally fascinating for its non-utilitarian, aesthetic qualities. While handaxes are not rare—thousands have been discovered throughout the world—First Sculpture will present a refined and exemplary collection of these objects, which date from 2.5 million to 50,000 years old, as evidence of the earliest forms of artistic intention. The exhibition highlights the aesthetic qualities of each stone and provides crucial historical and scientific information to give the viewer a deeper understanding of human history, as well as an enriched appreciation for humankind’s early ability to sculpt beautiful objects. Whether carved from visually interesting stones using stone flaking techniques, called knapping, or rendered at unusual sizes that would inhibit use of the object as a tool, a case can be made for the handaxe as the first sculpture our prehistoric ancestors conceived. The exhibition also explores figure stones—naturally occurring stones that carry shapes and patterns that resemble human or animal forms, especially faces, and which were gathered by prehistoric people. The stones, which sometimes show evidence of modification, indicate an inclination to recognize figuration within nature much earlier than has been generally accepted. The exhibition is the product of a unique curatorial collaboration between Los Angeles-based artist Tony Berlant and anthropologist Dr. Thomas Wynn, Distinguished Professor at the University of Colorado, Colorado Springs.

Artist Unknown, Handaxe knapped around a fossil shell, Ca. 500,000-300,000, FlintWest Tofts, Norfolk, England, Approx. 5 ¼ x 3 in. (13.3 x 7.6 cm) Museum of Archaeology and Anthropology, University of Cambridge

A Tradition of Revolution
May 12 – August 19, 2018
Permanent collection exhibition explores themes of revolution and unrest as manifest in sculpture
The Nasher Collection represents a compendium of revolutionary ideas: Art of the last 150 years can largely be seen as a continuous re-evaluation of norms and accepted practices, an extended period of cultural innovation with each generation of artists pushing against or blazing new trails from the new ground established by the preceding generation. A brief selection includes Medardo Rosso’s radical experiments with the casting process to express the sweet ephemerality of experience; the seismic shift caused by Pablo Picasso’s development of the visual language of Cubism; Naum Gabo’s use of newly developed, space-age materials expressing the technological ethos of the age and effectively dematerializing sculpture; as well as the ever finer distillation of form to its essentials beginning with Brancusi and running through Minimalism to the present day.  Artists working today continue to pursue many of these developments, adding their unique, contemporary perspectives and broadening the potential meanings of the forms. A Tradition of Revolution presents a cross-section of the Nasher Collection and the sculptural innovations of the last 150 years within the context of concurrent philosophical, scientific, and societal shifts.  Ranging from the beginnings of Modernism in the work of Rodin, Gauguin, and others to radical experiments of the present day, the exhibition will include works never before seen at the Nasher, including several recent acquisitions.

Sol LeWitt Modular Cube/Base, 1968, Painted steel, 20 1/8 x 58 ½ x 58 ½in. (51.1 x 148.6 x 148.6 cm) Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas © 2018 Estate of Sol LeWitt / Artists Rights Society (ARS), New York, Photo: David Wharton

Sightings: Luke Fowler
May 12 – August 19, 2018
First-ever sound work to be presented at the Nasher, commissioned in partnership with Lismore Castle Arts, Ireland
Nasher Sculpture Center and Lismore Castle Arts, Ireland—two institutions with unique outdoor settings for art, one a contemporary garden in a dynamic urban setting and the other a lush garden at an ancient castle in a bucolic rural setting—have jointly commissioned Luke Fowler to create a new sound sculpture for both locations. For this commission, Fowler draws on practices of focused listening and architectural acoustics to create a multi-channel sound installation. Using everyday objects and acoustic environments unique to each site, Fowler will create compositions that subtly examine the material history of the two sites and their acoustic qualities. The work premiered at Lismore in August, presented in one of the medieval defensive towers surrounding the garden.  Fowler will next travel to Dallas to take recordings of objects at the site, use the recordings to create a new sonic composition, and install the new sound composition in a resonant part of the Nasher garden. The exhibition is part of the Nasher Sculpture Center’s Sightings series of smaller-scale exhibitions and installations that highlight new work of emerging or established artists.

Luke Fowler, Gone Reflections, August 19 –October 15, 2017, Installation view at Lismore CastleArts, Lismore, Ireland


JULY 10, 2017 – APRIL 14, 2018

In the short story William Wilson, Edgar Allan Poe presents a sinister plot: the tale of a character who, from his childhood, experiences the apparition of a figure who in everything resembles and haunts him with similitude and repetition – until he turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges and Wilde) and in all the arts. The very act of representing – oneself or the other – can be understood as a gesture of creation of parallel realities, thus doubles to those in which we live. The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of situations in which otherness and duplication/repetition are manifested in works from The Rachofsky Collection, The Rose Collection, The Collection of Marguerite Steed Hoffman, and the Dallas Museum of Art, among others, assuming diverse configurations: from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles. The narrative departs from works in which the theme of the double appears explicitly – the most striking example being Felix Gonzalez-Torres’ “Untitled” (Perfect Lovers), an iconic piece from the collection with its identical but different clocks – to arrive at the idiom of abstraction, where virtual space and its relationship between exterior and interior constitute a bridge to the rapports between the self and the other.

Gallery 1: work by Jorge Macchi and object from the Yoruba peoples, courtesy The Warehouse

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES includes work by John Ahearn, Eija-Liisa Ahtila, Kai Althoff, Laurie Anderson, Giovanni Anselmo, Janine Antoni, Jo Baer, Robert Barry, Georg Baselitz, Alighiero Boetti, Marcel Broodthaers, Vija Celmins, Chung Chang-Sup, Alice Channer, Lygia Clark, Bruce Conner, Alexandre da Cunha, Jessica Dickinson, Rineke Dijkstra, Marlene Dumas, Luciano Fabro, Saul Fletcher, Lucio Fontana, Gilbert & George, Robert Gober, Fernanda Gomes, Felix Gonzalez-Torres, Mona Hatoum, Lee Kangso, Ellsworth Kelly, Mary Kelly, Lee Kun-Yong, Luisa Lambri, Glenn Ligon , Seung-Taek Lee, Jorge Macchi, Mangelos, Babette Mangolte, Piero Manzoni, Robert Mapplethorpe, Kris Martin, Allan McCollum, Gabriel Orozco, Damián Ortega, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, R.H. Quaytman, Charles Ray, Ad Reinhardt, Mauro Restiffe, Medardo Rosso, Salvatore Scarpitta, John Schabel, Richard Serra, Jiro Takamatsu, Richard Tuttle, Luc Tuymans, Lee Ufan, William Wegman, Rachel Whiteread, Steve Wolfe, and Lynette Yiadom-Boakye, as well as objects from Dallas Museum of Art’s Ancient Art of the Americas and Arts of Africa collections.

Rodrigo Moura
Exhibition Curator


DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES is the first in a series of guest-curated exhibitions at The Warehouse.

Watch an Interview with curator Rodrigo Moura

Islamic Art Revival Series Exhibition

Islamic Art Revival Series presents its first photography exhibition

THE HUMAN EXPERIENCE, Through the Lens of Three Women

At the Eisemann Center for Performing Arts and Corporate Presentations

February 28 – March 25, 2018

Presented by the Islamic Art Revival Series (IARS) a program of the Texas Muslim Women’s Foundation, an exhibition of photography by three Texas based women including Carolyn Brown, Tuba Koymen, and Farah Janjua.

Free Activities & Events to Enlighten and Inspire Friday, March 2nd

Opening Night Reception featuring Dr Nada Shabout as the keynote speaker. Dr Shabout is a Professor of Art History and the Coordinator of the Contemporary Arab and Muslim Cultural Studies Initiative (CAMCSI) at the University of North Texas. She is the founding president of the Association for Modern and Contemporary Art from the Arab World, Iran and Turkey (AMCA).


The Islamic Art Revival Series (IARS) is a program of the Texas Muslim Women’s Foundation, designed to increase awareness and build bridges of cultural understanding through the arts. Started in 2011 by a cross-cultural coalition of businesses and nonprofit leaders, students and small business owners, the IARS includes a diverse group of women and men, who are passionate about sharing the rich cultural relevance of Islamic Art and to enhancing cross-cultural understanding. For more information, visit


The Texas Muslim Women’s Foundation is a 501(c)(3) civic organization that empowers, promotes, and supports all women and their families through educational, outreach, philanthropy and social services. For more information, visit

Ten Reasons an Onsite Functioning Fine Arts Library is Essential to the College of Fine Arts and to the University of Texas

In December 2017, the Art History Faculty at UT Austin delivered a letter to Dean Douglas Dempster, Provost Maurie McInnis, Vice-Provost Lorraine Haricombe, Director of UT Libraries, and President Greg Fenves regarding the future of the University of Texas’s Fine Arts Library.  The letter is reprinted below.



December 6, 2017

To: Dean Douglas Dempster, Provost Maurie McInnis, Vice-Provost Lorraine Haricombe, Director of UT Libraries

Cc: President Greg Fenves

From: The Art History Faculty

Re: Future of the Fine Arts Library


A number of letters have already been sent to you, but we want to consolidate our concerns about the possible loss of the Fine Arts Library in one document and, at the same time, provide additional information. We hope that this summary can serve as a platform for further discussion, including by the newly appointed Task Force.


Ten Reasons an Onsite Functioning Fine Arts Library is Essential to the College of Fine Arts and to the University of Texas

  1.  Art libraries are at the core of the discipline. Unlike the sciences, which rely on journals reporting the latest research, Art History is a culture of ideas and images that do not circulate primarily in journals but rather in exhibition catalogs and books. That is why publication of a major book is the standard for every level of promotion at R1 universities, including the University of Texas. Because of image copyright issues with museums and rights organizations, catalogs and books are rarely ever produced in e-book form. Further, exhibition catalogs, in particular, are often very specifically and complexly designed, so that critical artistic effects are lost in digitization. An art library that is actively collecting and shelving catalogs and books is essential for meaningful original research in the field—it is the equivalent of an up-to-date laboratory in the sciences.
  2. Negative effects of a possible move of FAL to smaller space in PCL. It has been suggested that some proportion of the Fine Arts Library holdings could be transferred to a space in PCL. Not only would space limitations in PCL reduce the FAL to a shadow of its former self, there would be no room for the library to continue to collect and grow. And once the Fine Arts Library was no longer an official branch of the General Libraries, the door would be open for budget cuts that could drastically reduce the library’s support for the acquisitions that keep it evolving as an organic, up-to-date research center. At the same time, such a move would place a geographical barrier between both graduate and undergraduate students and the resources that remained in the token “fine arts library.”
  3.  Graduate program. Without a fully functional, on-site Fine Arts Library (comparable to our major competitors—Yale, Harvard, Princeton, etc.), it will be impossible to recruit graduate students to UT. The library has been a critical component of recruitment (helping to counterbalance our lack of major funding packages), and it is central to the high quality of the research done at UT and the respect our program has earned. Moreover, ready access to the library and to spaces for student study are vital to the community of graduate students and their efficient access to materials.
  4. Faculty recruitment and retention. An up-to-date and readily accessible Fine Arts Library is also a crucial element of recruiting and retaining excellent faculty. Why should faculty come to or stay at UT if resources for research and teaching are no longer readily available or purchases have been radically curtailed? That five of the Hamilton Book Award grand prize winners (and several other winners of secondary Hamilton awards) are members of the Art History faculty documents both the quality of library support and the scholarship that has been possible to date. That would definitely change with the library’s reduction in the future. And the idea of a “star” hire for Art History suggested by the Provost’s office becomes completely unrealistic. Why would anyone of stature leave a major center with museums and libraries to move to UT, where their ability to conduct research would be so seriously hindered?
  5. Undergraduate education. In line with the University’s emphasis on undergraduate research, the Art History faculty two years ago established a new sophomore level course, “Problems in Art Historical Research,” which is squarely grounded in the Fine Arts Library. That course joins the junior-level Art Historical Methods and the senior Thesis capstone course, all of which are centered on library research. The FAL is the laboratory for these courses, just as it is for the many undergraduate classes with a research paper assignment. As of this year, a librarian is being “embedded” in certain Art History classes to support undergraduate research directly. To dismantle or downgrade the Fine Arts library would be akin to removing or downsizing laboratories in the sciences. And it would have a similar negative impact on the ability to recruit strong undergraduate majors to UT.
  6. “Global Cultures” and diversity. The Fine Arts Library has long been a major repository of the “Global Cultures” that are now a required Flag in the UT undergraduate education for all majors. The library is a ticket to those world cultures and can open students’ eyes in a way that no internet search could ever do. The FAL supports diversity in education in cultures both within the U.S. and beyond, and downgrading it would negatively impact our commitment to global art education and research.
  7. Users from across campus. The Fine Arts Library is not solely a facility for the College of Fine Arts. There are patrons from all over campus, including the staff of the Blanton Museum of Art, for whom it is a vital resource for research on collections, exhibitions, potential acquisitions, and education programs. Faculty and students from many other programs on campus are regular users of the library, including, in particular, American Studies, the School of Architecture, the Plan II Honors program, and the English Department as well as UGS Signature Courses and the UGS Bridging Disciplines Program.
  8. Visual Resources Collection. Another crucial resource for our teaching of Art History is the Visual Resources Collection, housed within the Fine Arts Library, which does the high-quality scanning necessary for our teaching. That staff needs ready access to multiple images of a given work to assure the best quality images, and faculty work closely with them in this process. Their proximity to books and catalogs and to faculty is vital to their operation. Their assistance with undergraduate and graduate presentations is also critical to student success in the classroom.
  9. Circulation and delivery issues.
    1. Circulation The circulation figure of 100,000 has been cited as evidence that library usage has “crashed.” While with streaming technology circulation of CDs and DVDs has naturally declined from the over 200,000 figure of the past, 100,000 items is still robust circulation and does not by any means include all of the library usages that occur without a book being checked out. The demand for these resources will continue, and a move of further materials to remote storage, which would be necessitated by the reduction required by displacement of the library to PCL, will require considerable more staff numbers and time to fulfill such requests, which will not cease.
    2. Problems of delivery from the Joint Library Facility near College Station. As you know, 55,000 books and 20,000 bound periodical volumes were removed from the Fine Arts Library during 2015-2016 and transferred to the Joint Library Facility in central Texas. According to the Texas A&M libraries website, the volumes have now gone into joint ownership status with A&M and have been “deduplicated.” Upon hearing this news, surprised faculty were assured that a simple interlibrary loan request would bring books and journals to Austin in 3-5 days. In reality, however, undergraduates, graduate students, and faculty are now regularly experiencing delays on the order of 10 days or more to receive books. As several worried undergraduates declared this week, “How can we finish our papers in time when we can’t get the books we need?” All this is to say that no more books can be lost from the FAL to remote storage. Further demands on library staff time and further serious obstruction of student and faculty research, along with an even larger carbon footprint from trucking books back and forth from the JLF, are additional negative effects that reducing or dismantling the Fine Arts Library would produce.
  10. Designers need libraries—like visual artists, performers, and historians of art, music, and theater. Along with these arguments from Art and Art History, you have received powerful written testaments to the importance of the Fine Arts Library from faculty members in Music as well as Theatre and Dance. Just as Studio Art faculty rely on exhibition catalogs and books for their own creative research and for educating their students, in order to assure that they are not reinventing the wheel, teachers and students of Design in the new School of Design and Creative Technologies will need the support of an actively collecting Fine Arts Library for their creative endeavors. There is a great deal of sophisticated literature on digital design, for example, and UT students in this field will be sorely out of date without ready access to a library that covers the history of design up to the present moment.


We as faculty, along with students and other faculties across the College, are deeply concerned at the prospect of any reduction or moving of the Fine Arts Library which is, in so many ways, at the heart of the College and its mission. We hope that creative consideration of space options within CoFA can produce an alternative solution. For example, a considerable part of the space in the Doty Fine Arts Building basement, where the lounge is often largely empty, might be reconfigured for the use of the new School. Similarly, there is also quite a bit of unused space in the IT office outside the Fine Arts Library entrance.

The prospects for the new School are exciting, but they do not merit the destruction of the excellent programs in place in the College now, which would be the inevitable result of the dismantling of the Fine Arts Library.



Eddie Chambers

Michael Charlesworth

John R. Clarke

Penelope Davies

George Flaherty

Julia Guernsey

Linda Dalrymple Henderson

Joan A. Holladay

Ann Johns

Janice Leoshko

Stephennie Mulder

Adele Nelson

Moyo Okediji

Nassos Papalexandrou

Astrid Runggaldier

Glenn Peers

Susan Rather

Ann Reynolds

Astrid Runggaldier

Richard Shiff

Jeffrey Chipps Smith

David Stuart

Louis Waldman


Become a Member of ICOM-US today!

To Fellow Art Historians:

On behalf of ICOM-US, I am writing to invite you to join the International Council of Museums, National Committee of the United States (ICOM-US), your passport to a dynamic network of 35,000 professionals at 20,000 museums in 137 countries!

ICOM is the only international organization dedicated to advancing the global museum community through research, resources, workshops, conferences and more. Your membership in this worldwide organization is an important part of fighting illicit trafficking, increasing emergency preparedness and supporting the work of museums around the world.  This is also an opportunity to explore art and art history careers and make contacts for your career which include and may go beyond the opportunities of the classroom. Some of the international committees (members may choose up to three international committees to join in addition to membership in the US National Committee) cover specialized museum related topics such as: conservation, documentation, security, costume, collecting, and much more.


Your ICOM membership card enables you to enjoy many important benefits:

  • Get free or reduced-price admission and priority access to museums around the world (including the Vatican Museums and the Louvre.)
  • Develop your network of ICOM-US members through our new website:
  • Join up to three of the 30 International Committees focused on museum professions and special interests.
  • Attend any of the 150 museum and heritage-related events annually, in the U.S. and worldwide, including the ICOM triennial General Conference in Kyoto, Japan in 2019.
  • Advocate for museum standards of excellence (ICOM Code of Ethics)
  • Engage in international efforts, such as the fight against illicit traffic in cultural goods, or emergency actions in museums worldwide
  • Check out the latest research on museum trends and innovation
  • Access to ICOMMUNITY, a new collaborative web platform for members


Becoming a member of ICOM is easy! – Just visit to learn more and apply for membership today. Non-voting, discounted student membership is available.


Then, as a new member, take a look at the upcoming events you can attend listed in our online calendar.


Plan to join us in Phoenix as we partner with the American Alliance of Museums Annual Meeting & Museum Expo, May 6-9, 2018, for several exciting ICOM-US events, including our annual luncheon on May 7, 2018.

Keynote Presenter Cristián Samper, President and CEO of the Wildlife Conservation Society, will talk on “Museums and Sustainable Development”.


Now more than ever, museums of the world need one another. Join today, we look forward to seeing you soon!




Virginia M. Curry
Board Member, ICOM National Committee for the United States

Doctoral Fellow, Edith O’Donnell Institute

Call for Applications: 2018-2019 Edith O’Donnell Graduate Fellowships

Call for applications:

2018-2019 Edith O’Donnell Graduate Fellowships at the Edith O’Donnell Institute of Art History

The Edith O’Donnell Institute of Art History invites applications from current PhD students in Arts & Humanities at UT Dallas to apply for a limited number of 2018-2019 Edith O’Donnell Graduate Fellowships to support the completion of their dissertation.

We welcome applications both from students working on art history topics and from humanities students (in history, philosophy, and literature, for example) whose work intersects in productive ways with the field of art history.

To be eligible, applicants must have passed their field exams (by the end of the Spring 2018 semester) and made significant progress on their dissertation. Applications will be judged on the basis of merit and potential; preference will be given to applicants who will complete the dissertation during the fellowship year.

For the 2018-2019 academic year each Fellow will be awarded a stipend, tuition waiver, and a private study carrel at the O’Donnell Institute. During the fellowship period Fellows will be expected to dedicate themselves to their dissertations full time, in residence, and to participate fully in the scholarly life of the O’Donnell Institute.

To apply, please prepare the following material in an application addressed to Dr. Richard Brettell, Founding Director, and Dr. Sarah Kozlowski, Associate Director, The Edith O’Donnell Institute of Art History.

  1. A cover letter
  2. A curriculum vitae
  3. A 600-word description of your dissertation project. What is the body of materialthat the dissertation treats? What questions are you asking of this material? How will you go about answering these questions? What contributions does your project make to your field?
  4. A 300-word summary of work you have completed to date
  5. A 300-word proposal for work to be completed during the fellowship year
  6. Name and contact information of the primary dissertation advisor(s)

Please submit these materials in a single pdf, using your last name as the file name, to by Monday, March 19, 2018.

Director’s Welcome

Richard Brettell – AH – Margaret M. McDermott Distinguished Chair in Aesthetic Studies – Art History


Fall 2017 marks the beginning of the fourth full year of the Edith O’Donnell Institute of Art History. We have already done a good deal for the discipline of art history in North Texas—sponsored and co-sponsored symposia, scholars’ days, lectures, workshops, and festive gatherings for art historians in museums, universities, colleges, and galleries—and beginning to fulfill the mission encouraged by Mrs. O’Donnell of bringing the scattered community of art historians in Dallas-Fort Worth together as often as possible. We have also done very well in providing a nurturing environment for UT Dallas doctoral students, and six newly minted “Drs.” have been sent out into the world. We have brought scholars to Dallas from Switzerland, Italy, and Canada and are about to welcome a new colleague for a year-long visit from Harvard University. All in all, we can look back with pride on three action-packed and exciting years.

We will hold our Fourth Annual Dinner this Fall, and it will be our first to be held at UT Dallas rather than at the wonderful home of our partner, the Dallas Museum of Art. At the dinner we will honor our founder with a premier of a newly commissioned film about her philanthropy and we will let our inner circle in on our ambitious plans for the future. This Fall, we will also inaugurate two international partnerships which we hope to grow into long-term scholarly programs—the first with our colleagues at Nanjing University in China and the second with the Capodimonte Museum in Naples. Who knows—when we begin to think about Africa, perhaps will add Nairobi to Nanjing and Naples!

This Fall, we said a fond, if reluctant, “goodbye” to two esteemed colleagues, Dr. Sabiha Al Khemir, who plans to start an ambitious new foundation for Islamic Art in New York, and Dr. David McPhail, who is returning to London after launching our Conservation Science Program, a partnership with the Department of Chemistry in the School of Natural Sciences and Mathematics at UT Dallas and its Dean, Dr. Bruce Novak. Look forward to news on both of those fronts.

Dr. Suzanne Preston Blier
Allen Whitehill Clowes Chair of Fine Arts and of African and African American Studies
Department of History of Art & Architecture and Department of African and African American Studies, Harvard University

We extend a big Texas welcome to Dr. Suzanne Preston-Blier, the Allen Whitehill Clowes Professor of Fine Arts and of African and African-American Studies at Harvard University. Dr. Blier will be with us for a full academic year, has rented an apartment in the heart of downtown Dallas, and is trying to figure out how to live in Dallas without knowing how to drive! She will work both on campus and in an office at EODIAH-DMA (the latter a short walk from “home”), and her plan this year is to complete a new book and to develop an interactive digital map of Africa throughout human history (the longest of any continent). She will work with our colleagues in Arts and Humanties and ATEC as well as with Dr. Roslyn Walker, Acting Chief Curator at the DMA and curator in charge of the museum’s superb collection of African Art.

As for faculty news, Dr. Mark Rosen is in the throes of completing an important new book on the representation of cities from above from its beginnings in the fifteenth century through the era of hot-air balloons in the late eighteenth century—a study which links the arts and the sciences of observation. Dr. Charissa Terranova has completed an edited series of articles, and is hard at work on her third scholarly book, all of which are involved with the history of the visual arts in their intense interaction with the sciences. Dr. Sarah Kozlowski has pursuing projects on fourteenth-century diptychs in Naples and on fictive porphyry versos in Italian panel painting, and will soon be promoted to Associate Director of EODIAH.

This semester we look forward to a series of workshop talks, a study day in collaboration with the DMA, a co-sponsored symposium around the Meadows Museum’s Zurbaràn exhibition, and a number of site visits to Dallas collections.


Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair

Greetings from the Assistant Director

Dr. Sarah K. Kozlowski, Assistant Director
The Edith O’Donnell Institute of Art History

Since Hurricane Harvey made landfall on the Texas coast, all of us at the O’Donnell Institute have been following news from our colleagues and sister institutions in Houston. The Art Newspaper and Glasstire are posting updates on the museums, universities, and other cultural centers weathering the storm. We continue to keep all those affected by the hurricane in our thoughts even as we begin the new academic year in (thankfully) dry Dallas.

Among the many programs and projects that will take shape over the coming year, I am particularly excited about the symposium that we are mounting in October at the Museo di Capodimonte in Naples. The symposium will draw together over 40 distinguished Neapolitanists from the United States, Europe, Italy, and the most important universities in Naples for three days of gallery talks and site visits that will set the Capodimonte’s collections and surrounding bosco in a global context.

Presentations on topics including the exchange of artworks and botanical specimens between Naples and China, the circulation of luxury goods and materials in Naples and throughout the Mediterranean, and the self-definition of painters in Naples in a broader European baroque context will crack open the questions that motivate the new research center that the symposium will launch.

In 2018 the Museo di Capodimonte and the O’Donnell Institute will form the Center for the Art History of Port Cities (Il Centro per la Storia dell’Arte delle Città Portuali). The center will be housed at La Capraia or Goatfarm, an eighteenth-century agricultural building on the grounds of the Capodimonte. Through scholarly programming and research residencies it will foster on-site study of artworks and sites in Naples, with special emphasis on the cultural histories of port cities, the mobilities of people and objects, and processes of encounter and exchange. Our aim is to inform new histories of art on a global scale, always rooted in close engagement with the materials and sites at hand.

At the end of this newsletter you’ll find the program of the symposium. In the next issue of the newsletter we’ll publish a full report. To be completely immersed for three days in the collections of one the world’s great museums alongside fellow scholars in endlessly complex Naples is my idea of heaven! I am particularly grateful to Elizabeth Ranieri, our colleagues at the Capodimonte, the Robert Lehman Foundation, and Mr. and Mrs. John Ridings Lee for making the symposium and our fledgling partnership possible.

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History


Real Fabbrica di Capodimonte, Salottino di Porcellana, 1757-1759, painted and gilded porcelain, stucco. Naples, Museo di Capodimonte

ISAAC In Nanjing

EODIAH’s University of Nanjing Fellows at the Amon Carter Museum of American Art. From left to right: Dr. Liu Yi; Ms. Zheng Weili, Managing Editor and Project Director for the Humanities with Nanjing University Press; Dr. Gao Xin; Dr. Andrew Walker, Director of the Amon Carter Museum of American Art

Last December, Dr. Andrew Walker, Director of the Amon Carter Museum of American Art, Dr. Ming Dong Gu, Director of the Confucius Institute at UT Dallas, and I went to Nanjing to meet Dr. Zhou Xian, an eminent scholar and Director of the Institute of Art at Nanjing University. For Andrew and me, the whole trip was a revelation, especially since it was our first trip to China. While there, a great fact became painfully clear: that, although American universities and museums have taught and collected Chinese art for nearly two centuries, little is known in China about the history of American art before Jackson Pollock and Andy Warhol. Although our art history is almost painfully short compared with the multi-millennial history of Chinese art, it is of vital importance to an understanding of our nation and its history.

Given the fact that the US and China are the two largest economies of the early twenty-first century, it is important that we understand each other fully, and, as we walked on the historic campus in central Nanjing (I call it a college town with a population of 14,000,000 people!), we came upon the home of Pearl Buck, the first American woman to win the Nobel Prize in literature. Learning about her relationship with Nanjing University inspired us to work together to create a new institute called ISAAC, The Institute for the Study of American Art in China. ISAAC will bring together the library and collections of The Amon Carter Museum, the Confucius Institute, and the Edith O’Donnell Institute of Art History at UT Dallas, and the Institute of Art at Nanjing University.

Our aim for ISAAC is threefold: to train three Chinese art historians annually for three years in American art history through an ambitious travel and study program centered in Dallas-Fort Worth; to mount an annual summer Americanist symposium in Nanjing; and to start with the Nanjing University Press a series of translated books on American art history for Chinese readers. This does not come cheaply, but the commitment was so strong that we applied to the Terra Foundation for American Art in Chicago to join with UT Dallas and the Amon Carter to fund the program for three years. We were honored to receive from Terra a grant of $250,000, which, with the commitment to fund one senior scholar (Amon Carter) and two junior scholars (EODIAH), funds the program for three years.

Within nine months, we went from a dream to a reality, and already two assistant professors and a representative of Nanjing University Press have arrived in Dallas-Fort Worth. In a few short weeks, they will be joined by Dr. Zhou Xian, who has taken time from his very busy life at Nanjing University to spend more than a month with us in the United States. The two Assistant Professors, Dr. Gao Xin and Dr. Liu Yi will be with us for a full year, traversing the United States and studying with colleagues in Dallas-Fort Worth. Dr. Zheng Weili of the Nanjing University Press will be with us for a month as well and is about to undertake a multi-year program of translation and publishing of major books on American art and architecture before World War II.

This project has the aim of bringing a profound knowledge of American art, architecture, and landscape to China, training teachers and publishing books so that a new generation of students will know American art at its finest and most wide-ranging. Lauren LaRocca, from the Institute’s staff, has taken on the duties of planning the wide-ranging travel for the scholars—to Chicago, to Washington D.C., up the Rockies from Santa Fe to Cody, up the Mississippi from New Orleans to Minneapolis, and to Arkansas and Oklahoma—with the goal of understanding America through its great center regions and its capital. We know that, when they return to China, the scholars will be able to teach American art history in new and exciting ways and help us to select scholars for the next two years.

Richard R. Brettell, Ph.D.

Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair


EODIAH’s University of Nanjing Fellows filling out their immigration papers. From left to right: Dr. Liu Yi, Dr. Gao Xin, Ms. Zheng Weili.