Greetings from the Associate Director

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

As we launch into the new academic year (the fifth year in the life of the O’Donnell Institute), three initiatives long in development are coming to fruition.

We have just welcomed our first class of Master’s students in Art History, a stellar group of young scholars who will spend the coming year immersed in seminars on topics including the Bauhaus, the History of Collecting, the Global Baroque, and Data-Driven Art History. Beginning in the spring semester, each student will design and carry out an independent research project that will culminate in a scholarly essay, a small exhibition, or a documentation project (for just a few examples), working directly with area collections and research resources. We look forward to updating you on their progress! Dr. Paul Galvez, Chair of the Master’s Program, and Lauren LaRocca, Master’s Program Coordinator, will guide the program in its inaugural year.

On September 22, the O’Donnell Institute will re-open the doors of The Wilcox Space, at the heart of Exposition Park, as a site for exhibiting the work of painters in Dallas whose practices bring together dedication to the craft of painting and exploration of the nature of the medium itself. The fall installation will feature the work of painter Liz Trosper, curated by John Pomara. Rick Brettell, Greg Metz, and John Pomara will curate the spring installation of work by Karl Umlauf. For the summer show, we will bring together a selection of works on paper by John Wilcox, whose work continues to animate the space that bears his name. Each installation will be documented in a print and digital publication and enriched by a public program. I am particularly grateful to David Wilcox, David Gibson, Corky Cunningham, Pierrette Lacour, Travis LaMothe, Katrina Saunders, and Marjaneh Goudarzi for their support and collaboration as we prepare The Wilcox Space for its next phase. My hope is that it will become a collaborative space for artists, art historians, and students to look at and think about the practice of painting in Dallas and beyond.

If our work at The Wilcox Space focuses on the hyper-local, our new Research Center in Naples takes a global perspective. Because of the extraordinary work of Elizabeth Ranieri, Francesca Santamaria, Sylvain Bellenger and his team at the Museo di Capodimonte, and our distinguished Advisory Group, The Center for the Art and Architectural History of Port Cities has just opened its doors in Naples, in the heart of the Bosco di Capodimonte. Over the course of the coming year we will welcome six advanced graduate students from institutions throughout Europe and the United States to pursue research projects related to Naples and the cultural histories of port cities and other sites of encounter and exchange. Our Research Residents will work closely with artworks, sites, and research materials in Naples, connect with colleagues at institutions throughout the city, and form the heart of the Center’s fledgling intellectual community. Throughout the year the Center will also host programs including small site-based research seminars and public symposia. I am honored to head this new initiative, which promises to make important contributions to the field of art history and to the scholarly communities of both Dallas and Naples.

In launching these three initiatives, I am profoundly grateful for the support of the endowment that Edith O’Donnell established for the Institute just four years ago this fall. Part of our work now is to see that these initiatives continue to grow and thrive over the longer term. Establishing named Fellowships in our Master’s program and at our Research Center in Naples, sponsoring site-based research seminars for graduate students and scholars, and helping us build our small research library at the Center in Naples are just a few ways that Friends of the Institute can help us do just that.

Amid all this exciting activity at the Institute, I am pressing forward with my own research, focusing this year on my book project on the materialities and mobilities of panel painting in fourteenth-century Naples. I’ll present work related to the book this fall at the Andrew Ladis Trecento Conference in Houston, and next spring at the Renaissance Society of America in Toronto.

The whole O’Donnell Institute family joins me in wishing you a productive and creative academic year.

Sarah K. Kozlowski

Associate Director (Acting Director 2018-2019)

The Edith O’Donnell Institute of Art History

Dr. Maximilian Schich, EODIAH Acting Assistant Director

Activities

Maximilian Schich is currently finalizing a book manuscript Outlining a Systematic Science of Art and Culture [working title]. Dealing with substance, relations, and dynamics in art and cultural production, the book builds on two decades of work, including the study of art history and classical archaeology, a first decade of consulting practice dealing with large graph databases, and a second decade of multidisciplinary collaborative research in complex network science and cultural analytics. 

The book narrative is rooted in a corpus of 1200 unique scientific figures produced by the author. These figures will be made available as a separate product. The book text targets a broad audience, including lay persons, students, humanists, and multidisciplinary scientists alike. 

Ongoing collaborative research under the leadership of Maximilian Schich includes the computational analysis of Chromatic Structure and Family Resemblance in Large Art Collections, in collaboration with research assistant Loan Tran (UT Dallas MA 2018), and computer scientists Prof. Jevin West and PhD student Poshen Lee (both at the University of Washington, Seattle). 

The project uses Deep Learning, i.e. a machine learning method that is capable to identify polymorphic similarities in large amounts of visual material. The art collections under investigation range from sets of several hundred, to hundreds of thousands of images. The research aims to deepen our understanding regarding the morphological structure of collections, to facilitate curatorial decisions, and to provide alternative experiences of collections as whole. 

Preliminary results have been presented at the Digital Humanities conference, a KDD workshop, and a workshop of the National Academy of the Sciences. The project is supported by the KRESS Foundation.

In October 2018, Maximilian will bring together a group of collaborators for several days to further investigate the Evolution of the Paris Salon, including art historian Debbie DeWitte PhD (UT Dallas), art historian Diana Greenwald PhD (Oxford University, currently National Gallery, Washington), physics PhD student Artem Bolshakov (UT Dallas grad, now Cornell University), and physicist Prof. Gourab Ghoshal (Rochester University). The project aim is to amalgamate classic qualitative art history approaches with quantitative methods of complexity science to study the evolutionary dynamics of topics in the Paris Salon. 

The study covers 158,000 artworks exhibited over the span of two centuries. Preliminary results have been presented at NetSci and the inaugural conference of the Cultural Evolution Society.

During the 2018/2019 academic year, Maximilian Schich is further involved as the Acting Assistant Director of EODIAH, supervising the ongoing ISAAC program, and further nurturing the understanding of art history with the means of science. The Institute for the Study of American Art in China (ISAAC) is an initiative supported by the Terra foundation, hosting a number of fellows from Nanjing University at the Edith O’Donnell Institute of Art History. 

Feeding into a multidisciplinary science of art and culture, Maximilian will gather small groups of collaborators in project-focused sessions, as exemplified above, and teach a course to introduce cutting-edge approaches in “Data-driven Art History” within the EODIAH master program in the 2019 Spring semester.

Lectures

On Friday, November 2, 2018, Maximilian Schich is invited, together with Suzanne Preston Blier (Harvard) and Matthew Lincoln (Carnegie Mellon), to present at the annual Arpeggio symposium at the Collision Space at Duke University. Feeding into the common topic of “Quantity+Quality”, Schich will give a presentation titled “Embracing Confusion: Quantity as Quality”.

On Monday, November 19, 2018, Maximilian Schich is invited to present a lecture in the MTS speaker series in the Northwestern University program in Media, Technology & Society, which “hosts distinguished and exceptional scholars from a wide range of disciplines”.

Become a Friend of EODIAH

Dear Friends of EODIAH,

The summer has been a busy one for everyone at the O’Donnell Institute. With student and faculty travel around the globe, and research and preparations for the fall semester, this next year promises to be an exciting and enriching one for the University, its scholars and students, and our many partners and donors. It is only through the support of our many friends that we are able to invest in new and innovative initiatives and continue our research and graduate education at the O’Donnell Institute where our scholars and students explore the history of art across times, places, and cultures.

Over the summer we received a very important gift from Dr. David Wilcox, whose brother John Wilcox was a Texas artist who died in June 2012 at the age of 57. John Wilcox left a substantial oeuvre of canvases, drawings, mixed media and works on paper. After his death, his brother David transformed his former studio and loft into a gallery space to show John’s work.

Since 2013, the O’Donnell Institute has collaborated with The Wilcox Space to show Wilcox’s paintings and works on paper and to publish catalogues that document his important career. Please visit the webpage https://utdallas.edu/arthistory/wilcox/ to see installations and catalogues of John Wilcox’s work at The Wilcox Space and view an online database of his oeuvre.

Now The Wilcox Space, at the heart of Exposition Park in Dallas, has become a site for the exhibition, study, and documentation of the work of painters whose practices, like Wilcox’s, bring together the craft of painting and exploration of the nature of the medium itself.

Dr. David Wilcox

We thank Dr. David Wilcox for his generous gift to the O’Donnell Institute that supports our continued work at The Wilcox Space.

Please call me with any questions if you would like to make a gift or need further information.  To make a gift today click here.

On behalf of Dr. Brettell, Dr. Kozlowski and the EODIAH staff, we thank you for your support and interest in the University of Texas at Dallas and the O’Donnell Institute – a unique and enriching resource for all of us.

Sincerely,

Lucy M. Buchanan

Director of Development

Edith O’Donnell Institute of Art History

415-992-1599

lucy.buchanan@utdallas.edu

Art and Medicine at EODIAH

UT Southwestern students participate in The Art of Examination course at the DMA

Art and Medicine at EODIAH

 

The Art and Medicine program headed by UT Dallas Distinguished Scholar in Residence Bonnie Pitman advances in research and outreach.

 

Art of Examination

2018 marks the third year that EODIAH has been the host hub for important resources relating to Art Museum and Medical School Partnerships: collaborative programs developed by art museums that partner with medical schools in order to cultivate medical students’ skills in rigorous observation, critical thinking, communication, team-building, empathy and relate these to diagnostic practices. The Art and Medicine website recently released updated versions of the field’s bibliography, program descriptions, and sample syllabi of courses.

The extensive and fast-growing Art Museum and Medical School Partnerships bibliography offers a variety of media in an expansive collection containing program details, related medical humanities developments, and documentation on the value of observation art-based learning experiences. A centralized node of research, it continues to advance the field by creating opportunities to exchange teaching methodologies and establish networks for research and evaluation.

The Art Museum and Medical School Partnerships Program Descriptions collection is international in its scope, currently listing over 120 programs that outline each program’s key personnel, goals, students served, and outcomes. New additions in the updated version include partnerships that expand into the fields of nursing, mental health, and other medical arenas, such as the Lawrence Wilson Art Gallery in Perth, Australia, that partners with the Sir Charles Gairdner and Osborne Park Health Care Group to offer object-based learning for Emergency Medicine specialists and trainees. The course is designed to teach close observation of unfamiliar material in a non-threatening context, with students gaining skills in collaborative program solving, creative thinking, tolerance of ambiguity, close visual-spatial observation, and empathy.

 

Center for Brain Health

As the Director of Art – Brain Innovations at the UT Dallas Center for BrainHealth, Bonnie Pitman moves forward in partnership with the Center for Brain Health in her research initiatives. Pitman has paired with Dr. Leanne Young, Executive Director of the CBH Brain Performance Institute, to infuse the framework for the Power of Observation (the process of seeing, looking, and observing) with cutting edge neuroscience research. 2019 will bring exciting advances in the Power of Observation framework as Pitman and Young develop a set of evaluations, workshops, and lectures.

 

Do Something New

Bonnie Pitman continues to share her personal journey of living with chronic illness with her Do Something New™practice that celebrates life in a daily exploration of taking an ordinary day and making it extraordinary.

On September 20, she will hold a talk at the Center of Brain Health Brain Performance Institute on her latest discoveries of Do Something New™as she prepares her venture for a future book. The enlightening session will invite idea discussion and inspire all to adopt practices of their own.

Register for Bonnie Pitman’s upcoming talk on her Do Something New Practice

September 20, 2018

Doors open at 6:30 PM
Reception 6:30-7 PM
Lecture 7-8 PM

UT Dallas Center for Brain Health on Mockingbird Ave, Brain Performance Institute

 

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

Günther Förg, Color Field, 1986, Acrylic on wood, 80 x 200 cm, 31 ½ x 78 ¾ in. Private collection.

We are excited to welcome everyone to join us this fall for our scholarly programs in the Research Center. Fall workshops by guest speakers include James Clifton, Director of the Sarah Campbell Blaffer Foundation and Curator of Renaissance and Baroque Paintings at the MFAH; Dr. Elizabeth Molacek, Curatorial Fellow in the Division of Asian and Mediterranean of the Harvard Art Museums; and Catherine Craft, Curator at the Nasher Sculpture Center.  In October our own Dr. Paul Galvez, EODIAH Visiting Assistant Professor and MA Program Chair will give a Workshop Talk titled Violence and Impressionism: the case of early Cézanne, which is drawn from his current book project. On November 6, 7:00 p.m. Dr. Gregory H. Williams, Associate Professor of Contemporary Art at Boston University, will give a public lecture on artist Günther Förg in conjunction with the DMA’s fall special exhibition Günther Förg: A Fragile Beauty. Förg was a prolific and provocative artist from the Cologne art scene of the 1980s, and his work reflects the cultural and political climate of postwar Germany. Dr. Williams will share highlights from the exhibition and consider the artist’s work within the context of world events and key issues in 20th-century art.

The Research Center will host a new exhibition this fall: The Art of Living in the Eighteenth Century. Our sixth vitrine installation, curated by EODIAH Visiting Assistant Professor and MA Program Chair Dr. Paul Galvez, and DMA Senior Curator of Decorative Arts and Design, Sarah Schleuning, highlights the depth and quality of the DMA’s decorative arts collection.

Finally, we’re thrilled to announce that the Research Center will host two graduate seminars for our first cohort of Art History MA students. Foundations II: History of Materials and Techniques explores the history of artistic materials and techniques, and asks how materials and the act of making create meaning. A cornerstone of the MA program, students will have the unique opportunity for close engagements with artworks in the DMA’s collection among others. Topics in the History of Collecting: Early Modern examines patronage and collecting at the early modern European court (c. 1400-1700), where often in the same space wonders of art were displayed alongside wonders of art and science.

The Research Center promises to be a lively center of scholarly activity this fall with a new group of fellows and graduate students. We look forward to the coming year and welcome you to our many Fall programs. Visit our website at https://utdallas.edu/arthistory/programs/and plan your calendar!

 

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

EODIAH’s Master’s Program in Art History

We are proud to announce that this fall marks the inaugural year of EODIAH’s Master’s Program in Art History.  The Institute’s own Sarah Kozlowski, Lauren LaRocca, and Paul Galvez have worked diligently over the last couple of years with the Office of Graduate Studies and the University so that we might have the pleasure of welcoming four new students who over the course of the new one-and-half year program will help make UTD an even more exciting place for art-historical scholarship.

The incoming group, comprised of Fatima Esmail, Marjaneh Goudarzi, Harper LaRoux, and Nausheen Hoosein, reflects a wonderfully diverse set of backgrounds and interests, which will only add to the already dynamic life of the EODIAH community. In addition to coursework under the AHST course prefix, both on campus and in conjunction with our expanding network of affiliated institutions and associated faculty, the new crop of MA’s will complete terminal practicum projects as the capstone of the degree.

We couldn’t be happier about this great step forward in making EODIAH a center for the training of the next generation of scholars, curators, and art professionals in the DFW metroplex and beyond and we very much look forward to their healthy involvement in the life of the Institute.

Announcing the premiere issue of Athenaeum Review

The front cover of Athenaeum Review 1 (2018) features an artwork by Lorraine Tady: Octagon Vibration Series/Event Horizon after Monks Mound Cahokia Mounds State Historic Site, IL, 2017. Acrylic and archival ink on canvas, 48 x 36 inches. Copyright © 2017 Lorraine Tady. Courtesy of the artist and Barry Whistler Gallery.

 

We are pleased to announce the launch of Athenaeum Review, a new journal jointly published by the Edith O’Donnell Institute and the School of Arts and Humanities at UT Dallas, which features essays, reviews and interviews by leading scholars in the arts and humanities.

The mission of Athenaeum Review is to help make interesting and important ideas in the humanities freely available to the general educated public, and to promote thoughtful, in-depth criticism of the arts in the Dallas-Fort Worth area.

Our first issue includes an introduction to the Athenaeum and an essay on the Wilcox Space, both by Rick Brettell, as well as reviews of “First Sculpture” at the Nasher by Paul Galvez, and of two books on bioaesthetics by Charissa Terranova.

Among much else, there are also essays on Frankenstein at 200, democracy promotion, culinary history, David Hume and Adam Smith, African performance, and science fiction, as well as lists of the best books on British Romanticism, Athenian democracy and Joseph Conrad.

On our website, you will find a series of extended illustrated interviews with artists about their work, including Lorraine Tady, Angela Kallus, Bryan Florentin, Liz Trosper and Luke Harnden , all of whose work is published in the first print issue. There is also a selectively curated weekly calendar of important local lectures, performances and exhibitions.

The Athenaeum Review podcast features conversations with scholars about their work, including recent EODIAH fellows and guests Abigail Solomon-Godeau, Yve-Alain Bois, Suzanne Preston Blier, Michael Lobel, and Annabel Daou.

Please join us for two consecutive events celebrating the appearance of the first issue:

A reception will take place at 7:00pm on Thursday, September 27th at Interabang Books in Dallas (RSVP), followed on Friday, September 28th by a panel discussion at UTD’s SP/N Gallery, where Rick Brettell, Charissa Terranova, Paul Galvez and Dennis Kratz will discuss “The Future of Criticism.” (5:00pm reception, 5:30pm talk; RSVP). Refreshments, including the much-loved gougères, will be served by Oak Cliff Creperie on both nights.

For more information about Athenaeum Review, please contact Ben Lima: benjamin.lima@utdallas.edu

ISAAC Year 1 Report 2018

Liu Yi and Gao Xin in the Crystal Bridges’ Rare Book Collection

Our ISAAC scholars had a very full spring and summer travel schedule in 2018. In February we spent a week in Washington, D.C. and visited the National Gallery of Art, Smithsonian American Art Museum, National Portrait Gallery, Smithsonian National Museum of American History, and the Phillips Collection. Each visit provided exceptional insight into the development and diversity of American art. At each institution we were welcomed by knowledgeable staff and engaged in meaningful dialogues. The nation’s capital provided a firm foundation in America’s history and its art.

In March we ventured to St. Louis and Minneapolis-St. Paul, and were joined by Andrew Walker, Director of the Amon Carter Museum of American Art in St. Louis. In addition to time at the St. Louis Art Museum and Kemper Art Museum we visited two private art collections with excellent examples of American Regionalism and its antecedents including artists Tomas Hart Benton, Hale Woodruff, Charles Burchfield, and Joe Jones. In Minnesota we drove along the Mississippi River, largely still frozen, to visit the delightful Minnesota Marine Art Museum (MMAM) in Winona, MN. MMAM is home to a large variety of European and American masterworks including examples from the Hudson River School, Impressionism, and American Realism and Modernism. We spent our final day at the Minneapolis Institute of Art (Mia), immersed in the impressive Kunin Collection, one of the foremost collections of American modern art in private hands.

Liu Yi at the Gilcrease Museum of Art with Senior Curator Laura Fry

In April EODIAH Visiting Assistant Professor and MA Program Chair Dr. Paul Galvez accompanied the scholars to Philadelphia and New York City. In Philadelphia the scholars visited the Barnes Collection, Pennsylvania Academy of Fine Arts, and the Philadelphia Museum of Art. A walking tour of old city Philadelphia gave particular attention to the architecture and urban planning. A visit to the University of Pennsylvania’s John Morgan Building revealed Thomas Eakins’ Agnew Clinic before heading to New York City. At the Metropolitan Museum of Art the scholars met with curator Sylvia Mount and discussed the changing paradigms for studying and exhibiting American art in the museum’s permanent collection, with particular focus on broadening the range of “American” art to include the Americas and cross-cultural exchanges. At the Whitney curator Barbara Haskell led the scholars through the Grant Wood exhibition explaining the selection of works, including their efforts to reconsider the category of “regionalism” that is often associated with Wood’s work. Their trip concluded with architecture-focused visits to the Frick Collection and the Guggenheim Museum.

An Ozarks trip in May began in Bentonville, Arkansas at the Crystal Bridges Museum of American Art. We met with Assistant Curator Jen Padgett and toured the galleries, with a focus on their 19th century landscapes and early Modernism paintings. A tour of the Bachman-Wilson House, an example of Frank Lloyd Wright’s Usonian architecture, posed a nice comparison to the Robie House in Chicago, an example of Wright’s Prairie School style. The day ended in the Rare Books collection, comprised of historic books and manuscripts dating back to the 16th century.

In Tulsa we focused on important collections of Western American Art with visits to the Philbrook Museum of Art and the Gilcrease Museum to view works by Frederic Remington, Albert Bierstadt, and Thomas Moran’s stunning painting, Spectres from the North. We visited the Helmerich Center, its hallways lined with framed facsimiles of historic documents, including the Fort Reno Ledger Drawings (1879 and 1887) and a certified copy of the Declaration of Independence signed by Benjamin Franklin and Silas Deane.

ISAAC Scholars and Amon Carter staff Brett Abbott and Maggie Adler at the Grand Teton National Park

A geyser at Yellowstone National Park

The scholars’ final trip was led by the Amon Carter’s Brett Abbot, Director of Collections and Exhibitions, and Maggie Adler, Curator, to Wyoming in June. It centered around visits to the Grand Teton and Yellowstone National Parks and aimed at providing the scholars with first-hand experience of the raw power of America’s grand western landscape – a setting that has dramatically influenced, and in turn been deeply impacted by, the development of American painting and photography from the 19th century to the present.

Each trip was filled with exciting discoveries and lively intellectual discussions with scholars, curators, archivists, librarians, and collectors, among others. Speaking for myself and the Institute, it has been an immense pleasure to work with Gao Xin and Liu Yi and introduce them to collections, archives, and libraries throughout the United States and equip them with the knowledge and experience to teach American art history to their undergraduate students.

The Institute will welcome our second group of ISAAC fellows from Nanjing University in late August. Senior Scholar Dr. Hansong Dan, Associate Professor, School of Foreign Studies; Junior Scholar Ting Zhang, PhD Student, The Art Institute; and Dr. Weiyi Wu, Assistant Researcher, The Art Institute. Dr. Dan will be in residence for two months, and Ms. Zhang and Dr. Wu will be in residence for two academic semesters. Each of the scholars will present a workshop on their current research; you can check the Institute’s Programs page this fall for more information.

EODIAH First Family Dinner

Over Labor Day Weekend, Pierrette welcomed our growing O’Donnell Institute Family for a magical evening “sous les pécans”—drinks and dinner and merriment under the great pecan trees in front of Pierrette’s Oak Cliff home. Pierrette’s cold gazpacho, famous cassoulet, and performances from our dozen “junior fellows,” who range in age from one to twelve years, were highlights. The gathering was the first in what we hope will become an annual tradition.

“Party View”, Carolyn Brown

“Rick”, Carolyn Brown

“Smile”, Carolyn Brown

 

“Beauty”, Carolyn Brown

“Buds”, Carolyn Brown

Dr. Charissa N. Terranova, Associate Professor of Aesthetic Studies

Publishing

Charissa N. Terranova will be publishing her next monograph, Biology in the British Bauhaus: Morphogenic Modernism in Art, Science, and Design, on Bloomsbury Press. Forthcoming in 2019, the book studies a culture of creative interaction across fields in twentieth-century Britain that began in the German Bauhaus during the 1920s. With the emigration of figures from the Bauhaus to London during the 1930s, a new field of creative action unfolded according to the logic of biological emergence. Emergent form, like embryos, takes shape through integrative levels, with greater complexity and unique form arising from lower levels but irreducible to them. The precepts of modern German design took hold among a group of embryologists, geneticists, crystallographers, and physicists creating a panoply of pioneering exhibitions, publications, laboratory experiments, and art and design projects across the twentieth century. Terranova shows how such collaborations created extraordinary outcomes in the arts, humanities, and sciences alike.

Forthcoming on Bloomsbury Press 2019, D’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture: From Forces to Formsis an anthology coedited by Ellen K. Levy and Charissa N. Terranova about the Scottish zoologist-mathematician D’Arcy Wentworth Thompson. With essays by fourteen international scholars of art, science, and design, the book situates Thompson within both scientific and cultural domains that are themselves interwoven. It pursues largely overlooked dimensions of evolutionary theory and form generation, including the roles of aesthetics, agency, and relationships of parts to wholes.

 

Symposia

Charissa N. Terranova leads a dialogue between six internationally renowned scholars of modern and contemporary art history about artist and impresario György Kepes. Titled György Kepes’s Vision + Values Series and the Origins of Cybernetic Art, this gathering is open to the public and takes place 10 am – 12 pm Saturday October 13 at the Nasher Sculpture Center. Audience participation is encouraged.

Kepes was a renaissance man and shapeshifter of modernism. A pioneer of new media art and heir of the Bauhaus, Kepes pushed modernist experimentalism into new realms. He incorporated science and technology as a means to rethink the avant-garde through cybernetics, both organic and mechanical. Prior to an almost thirty-year career as professor at MIT 1947-1974, he lived in North Texas, making lifelong connections here and leaving a trail of fascinating art and design projects. Join us and engage in a discussion about the life of Kepes, a second-generation Bauhaus figure, who spent a year in North Texas before embarking on his career at MIT. This event is supported by the Terra Foundation for American Art, the Edith O’Donnell Institute for Art History, and the Nasher Sculpture Center.

 

Lecture

Charissa N. Terranova has been invited, along with Pomona College Professor of French Claire Nettleton, to give a talk at Being Human, a symposium in London sponsored by publishing house Palgrave-Macmillan and the University of London in partnership with the Arts & Humanities Research Council and the British Academy on Tuesday, November 20, 2018. Terranova and Nettleton will give a presentation titled Viral Culture: How CRISPR Gene-Editing and the Microbiome Transform Humanity and the Humanities.

 

Conference

Dr. Charissa N. Terranova is co-chairing with Pomona College Professor Claire Nettleton Culturing Bacteria: How Microbes Reconfigure Mind, Art, and the Humanities, a double panel of eight scholars at the annual meeting of the Society for Literature, Science, and the Arts November 14-18, 2018 in Toronto, Ontario. Scholars from the arts, humanities, and natural sciences will present work on the new materialist politics that has arrived in the form of microbiota. Scientific data about bacteria in the air, ocean, and on and in bodies of all living matter reveal that humans are ecologically integrated in a multiverse of humming life. Recent studies have shown that ratio between human and bacterial cells within the human body to be 1:1. We are thus as human as we are bacterial. This panel explores the ways in which bacteria are commensal to all life, recasting minds outside of bodies, art beyond the realm of the gallery, and the humanities in terms of the inhumanities.

Virginia Curry, EODIAH Graduate Fellow

Virginia Curry was recently re-elected to the Board of Directors of ICOM-US for a term of three years.  Ms. Curry also serves on the Board of Directors of the ICOM International Committee for Collections (COMCOL).

The ICOM International Committee for Museum Documentation (CIDOC) has selected two papers submitted by Ms. Curry for presentation as technical papers for their annual conference with the theme:  “Provenance of Knowledge”. The first technical paper “Cognitio Causarum”: Interdisciplinary Discourse in Antiquity and Modernity; Preserving and Privileging the Original Archive considers reliance on libraries and archives as modeled in antiquity to act as the knowledge base for adult interdisciplinary lifelong discourse and learning in modernity. The second technical paper “In the Eye of the Beholder: Felony Hubris” concerns the maintenance and utilization of museum archives to interrogate provenance and authenticity issues of museum collections.  The Gardner Museum Collection is highlighted in this paper.

The ICOM International Committee for Museum Exchange (ICEE) and International Committee for Fine Art (ICFA) have also accepted a paper by Curry for presentation at their joint annual meeting in November in Madrid and Barcelona.  The theme of the conference is “Cultural Heritage: Transition and Transformation”. Ms. Curry’s presentation concerns the Keir Foundation Collection on loan to the Dallas Museum of Art and its utilization by the Edith O’Donnell Institute of UT Dallas in “hands on” art history instruction, interdisciplinary seminars, and shall demonstrate how the Keir Collection’s arrival at the Dallas Museum of Art exemplifies the Museum’s DMX program “which was launched in 2012 and facilitates loans of cultural objects from international organizations in exchange for the museum sharing its expertise in conservation, exhibitions, education and new media.”

Rebecca Quinn-Teresi, EODIAH Graduate Fellow

Andrés and Francisco de Cervantes Cabrera before the Virgin, carta ejecutoria de hidalguía, The Hispanic Society of America B2258, Granada 1623

This fall EODIAH Graduate Fellow Rebecca Quinn-Teresi is teaching the “Topics in the History of Collecting: Early Modern” seminar for the new EODIAH MA program.

In November she will be presenting a shortened version of her dissertation chapter at a conference in London. The title of the paper is “Visualising Limpieza de Sangre: The Immaculate Conception in service of the Hidalgo” and the conference is “Iberian (In)tolerance: Minorities, Cultural Exchanges, and Social Exclusion in the Middle Ages and Early Modern Era” co-sponsored by the London Arts and Humanities Partnership, the Instituto Cervantes, London, and the Bureau of Cultural and Educational Affairs of the Spanish Embassy in London.

Linda K. Anderson, UTD PhD Aesthetics Candidate

“On Cutting” (2017) Photo courtesy of the Minding Making Project, Harvard University

The Technical Art History Colloquium: Rijksmuseum, Amsterdam, NL

“Minding Making: Hands-On Learning in the American University”

For art historians, writing about art objects in history has generally taken precedence over writing about the making process.  Several Dutch institutions have joined together to unravel this “vertical hierarchy” in order to better understand the relationship between the two: minding and making.

The Technical Art History Colloquium is a joint effort of Utrecht University (the group ARTECHNE), the University of Amsterdam, the Rijksmuseum, and the University of Groningen. ARTECHNE forms the core of the group, concentrating its efforts on technique in arts, dating from 1500-1950 at Utrecht University.  ARTECHNE hosts the Colloquium gatherings and in June, Glenn Adamson, a Senior Scholar at Yale Center for British Art, presented a unique American viewpoint.

ARTECHNE hosts workshops, labs, a database, people and blogs to promote understanding of the expanding nature of art history, conservation, and the most recent approaches to art historical practices.

The meeting at the Rijksmuseum featured Adamson’s presentation “Minding Making: Hands-On Learning in the American University”. Adamson presented the “Minding Making Project” at Harvard University. The project aims to collapse this hierarchy by equalizing the emphasis on minding of objects over the physical making of objects. Harvard seeks to create an equal relationship atmosphere rewarding through knowledge of both sides (minding and making), benefitting scholars, makers, museums, conservators and the university. Adamson stressed the need to better understand the role of makers with the hands-on learning of skills. He believes the closer the two (minding and making) come together, the easier the vertical hierarchy can be broken down. Adamson demonstrated how students physically learn the making process and thus can better understand the minding of the objects.

Adamson described the project as an effort to react against the world of digital screen technology in art schools. While acknowledging the benefits of technology, Adamson emphasized that scholars studying materials need the physical world experience of object making. Adamson demonstrated the process of making in several locations: Columbia University’s focus on modern craft techniques, Yale University’s conservation team and Harvard University’s Minding Making Project.  Adamson stressed the need to “turn to the materiality of objects” in order to understand the making process, while also contributing to the minding process.

 

 

 

Jouette Travis, UTD Art History Student

Jouette Travis, majoring in art with an art history emphasis, will represent UTD at the ICIM 2019  “International Conference on Interculturalism and Mulitculturalism” early next year.

The conference is sponsored by the Instituto Superior de Contabilidade e Administração do Porto (ISCAP) the Portugese business school founded in 1886. The presentations will take place at their Centre for Intercultural Studies, March 28-30, 2019, in Porto, Portugal.

The thematic panel for Jouette’s abstract is Multimodal Intercultural Dialogues and the title of her presentation is “Modern Marriage Between Former Enemies”.

For more information about the conference:  https://www.iscap.pt/cei/ICIM2019/

Dallas Museum of Art News and Exhibitions

(Left) Dr. Michelle Rich (Right) Dr. Heather Ecker

DMA Welcomes Two New Curators

The Dallas Museum of Art created a new endowed curatorial position in Islamic and Medieval Art, appointing Dr. Heather Ecker as the museum’s first Marguerite S. Hoffman and Thomas W. Lentz Curator of Islamic and Medieval Art. Ecker brings nearly two decades of diverse curatorial, teaching, and institutional experiences to the role. Ecker trained in objects conservation at the Institute of Archaeology, University of London, and held conservation internships and fellowships at leading institutions, including the British Museum, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the Khalili Collection of Islamic Art, London. Ecker’s extensive knowledge of conservation practices and oversight will be integral to her new role at the DMA.

Also over the summer, The Dallas Museum of Art named Dr. Michelle Rich as The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas. Dr. Rich joins the DMA after the completion of two prestigious Mellon Postdoctoral Curatorial Fellowships at national museums: first at the Los Angeles County Museum of Art (LACMA), and currently at the San Antonio Museum of Art.

 

Derick Baegert, The Descent from the Cross, c. 1480-90, oil on oak panel, Dallas Museum of Art, Marguerite and Robert Hoffman Fund in memory of Dr. William B. Jordan.

Dallas Museum of Art acquires Derick Baegert panel, a first for a US museum

The Dallas Museum of Art has acquired The Descent from the Cross by the German master painter Derick Baegert (c. 1440–c. 1509). Painted around 1480–1490, the monumentally scaled panel is an exceptional example of Baegert’s distinctive style, which reflects the transitional period between medieval and Renaissance painting. As the inaugural acquisition of the Marguerite and Robert Hoffman Fund for pre-1700 European Art, this masterpiece of Northern European painting is the first work of its kind to enter the DMA’s holdings and is the first work by this artist to enter a US museum. Established in 2013, the Marguerite and Robert Hoffman Fund was conceived to expand and enhance the Museum’s collection of European art, primarily of the Renaissance and Baroque eras, through the establishment of a $17 million endowment. “This remarkable and rare painting by Baegert will be a cornerstone of the Old Master European holdings at the DMA,” said Agustín Arteaga, the DMA’s Eugene McDermott Director. “With this extraordinary acquisition, the Museum can now illustrate the development of art history from the Gothic period to the Renaissance through the DMA’s permanent collection. We are deeply grateful to Marguerite Hoffman for the remarkable gift she bestowed on the Museum in her name and that of her late husband, Robert, with the endowment of the fund, which has made possible this truly transformative addition to the Museum’s permanent collection.”

 

An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art

June 14, 2018 to February 17, 2019 | Barrel Vault

Exclusively at the DMA

“Extraordinary….Bequest to the DMA of masterpiece artworks is transformative.” – Dallas Morning News

An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art is dedicated to the single largest benefactors in the Museum’s history, the late Margaret and Eugene McDermott, visionary patrons of the arts, education, and healthcare in Dallas. On view beginning June 14, An Enduring Legacy will present their magnificent final bequest of 32 19th- and early 20th-century artworks to The Eugene and Margaret McDermott Art Fund to benefit the DMA. Among the masterworks featured in the exhibition are paintings, sculptures, and works on paper by Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Edgar Degas, Edvard Munch, Pablo Picasso, Georges Braque, Georgia O’Keeffe, and Henry Moore, among many others.

 

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artists, 1963.75.FA, © Estate of Honoria Murphy Donnelly, Licensed by VAGA, New York, NY

Traveling Survey of Precisionism, Early 20th-Century American Culture’s Love AffairWith Technology in the Machine Age

The Dallas Museum of Art presents the first large-scale traveling exhibition in over 20 years to look at early 20th-century American culture’s love affair with technology and mechanization that influenced architecture, design, and the visual arts. Hailed as “illuminating” upon its opening at The Fine Arts Museums of San Francisco, Cult of the Machine: Precisionism and American Art “captures that other era when Americans were obsessed with new technology.” The DMA is pleased to be the only other venue to present this well-received and revealing exhibition that includes 14 superb examples of Precisionist painting, photography, and silver work from its permanent collection by such well-known masters as Charles Sheeler, Charles Demuth, Gerald Murphy, Paul Strand, Walter Dorwin Teague, and William Waldo Dodge, Jr.

 

 

 

Berthe Morisot, Woman Impressionist 

February 24, 2019 to May 26, 2019 | Chilton II Gallery

DMA co-organized & curated

“Once overlooked, Impressionist painter Berthe Morisot is about to be Everywhere –A new traveling exhibition will underscore Morisot’s crucial role in the development of Impressionism.” – Artnet

Co-organized by the Musée national des beaux-arts du Québec, the Barnes Foundation (Philadelphia), the Dallas Museum of Art, and the Musée d’Orsay, Paris, this international exhibition is dedicated to one of the founding members of the French Impressionist movement, Berthe Morisot (1841–95). Berthe Morisot, Woman Impressionist will focus on the artist’s treatment of the modern figure through approximately 60 paintings from public and private collections around the world. A timely reevaluation of Morisot’s legacy, this exhibition will be the first dedicated presentation of her work to be held in the United States since 1987, the very first solo exhibition of her work to be mounted in Canada, and the first time since 1941 that a French national museum will devote a show exclusively to this seminal and revolutionary Impressionist painter.

 

Runo Lagomarsino, West Is Everywhere you Look, 2016, 9 maps, motors, cables and wires, Courtesy the artist and Francesca Minini, Milano

Concentrations 61: Runo Lagomarsino, Entremundos

The Dallas Museum of Art presents Concentrations 61: Runo Lagomarsino, Entremundos, the first US solo museum exhibition for the conceptual artist. The exhibition, which is on view September 30, 2018, through April 14, 2019, explores the unstable nature of national identities and mythologies through the transformation of everyday objects and phrases into historically referential works of art. With these deceptively simple transformations, Lagomarsino points to the volatile relationship between power and geography. Concentrations 61 spans two galleries and features new commissions and previous works specifically reconfigured for the DMA.

 

 

 

On View at the DMA

Word and Image: Works on Paper from the 15th Through 20th Centuries

Through October 21, 2018

Günther Förg: A Fragile Beauty

Opens October 21, 2018

Women + Design: New Works

Opens October 28, 2018

Ida O’Keeffe: Escaping Georgia’s Shadow

Opens November 18, 2018

Hopi Visions: Journey of the Human Spirit

Through December 2, 2018

Asian Textiles: Art and Trade Along the Silk Road

Through December 9, 2018

Women Artists in Europe from the Monarchy to Modernism

Opens December 22, 2018

Cult of the Machine: Precisionism and American Art

Through January 6, 2019

Concentrations 61: Runo Lagomarsino, EntreMundos

Through February 16, 2019

An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art

Through February 2019

Crow Museum of Asian Art Exhibitions and Events

Calendar of Events at the Crow Museum of Asian Art 

September-December 2018

 

Reservations

To learn more about our programs and to register or purchase tickets to an event, please visit our museum website at crowmuseum.org, or call 214-979-6430.

 

EXHIBITIONS

 

Jacob Hashimoto: Clouds and Chaos (September 28, 2018 – April 7, 2019) will feature a large-scale site-specific installation and the U.S. premiere of his latest woodblock prints.

 

Our Asian Art Museum: The Crow at Twenty (September 28, 2018 – August 11, 2019) will connect twenty master works from the permanent collection with twenty community and Museum leaders and friends.

 

The Art of Lacquer (September 28, 2018 – January 6, 2019) introduces lacquerware objects from the Museum’s collection to showcase one of the most enduring and distinctive forms of craftsmanship in the world.

 

Immortal Landscapes: Jade from the Collection (September 28, 2018 – January 6, 2019) will highlight outstanding Chinese carved jade representations of mountain landscapes and forms from nature.

 

Avatars and Incarnations: Buddhist and Hindu Art from the Collection (September 28, 2018 – February 24, 2019) will explore the concept of divine avatars in Hindu and Buddhist art represented in the collection.

 

WORKSHOPS/LECTURES

 

Educator Program

Sat Sept 8, 10 AM-1 PM

Engaging Educators: Mandalas, Mindfulness, and the Mystical Arts of Tibet

Center for Contemplative Leadership + Online

  • Educators near and far are invited to explore innovative and playful PreK-12 interdisciplinary and mindfulness-based curricula, including art-making, centered around Mystical Arts of Tibet. Available in-person and online. $20 for Members, $25 for Public.

 

Well-being Workshop

Sat Sept 15, 10 AM-2 PM

Breathe: Art and Well-being Workshop

Pearl Art Studio

  • Veterans and first responders are invited to gather for monthly workshops centered around art, qigong, and making. Free for Veterans and First Responders.

 

Artist Talk

Fri Sept 28, 7-8 PM

A Conversation with Jacob Hashimoto

  • Artist Jacob Hashimoto and curator Jacqueline Chao discuss Hashimoto’s newest site-specific installation and exhibition JACOB HASHIMOTO: Clouds and Chaos. $9 for Members, $12 for Public.

 

Studio Workshop

Fri Sept 28, 8-10 PM

Artist 2 Artist: Clouds and Chaos

Pearl Art Studio

  • Bring a friend or make some new ones as you create a collaborative work of art in the spirit of JACOB HASHIMOTO: Clouds and Chaos. $17 for Members, $20 for Public.

 

Book Talk

Sat Sept 29, 11 AM-12 PM

Stan Went Fishing: Stories and Images of Waking Up

Lotus Shop

  • Join Author and Leadership Consultant Nancy Dorrier for readings and insight into her writing practice that led to the creation of her new book about life and the art of living in the moment. FREE.

 

Studio Workshop

Sat Sept 29, 1-3 PM

Family Creative Writing Workshop

Pearl Art Studio

  • Families, join Author Nancy Dorrier and experience the joy of reading some of your favorite books followed by a chance to write, draw, and create your own stories to share. Members: $20 for Family; Public: $24 for Family.

 

Studio Workshop

Sun Sept 30, 1-4 PM

Creative Writing Workshop

Pearl Art Studio

  • Stan Went Fishing, Stories and Images of Waking Upgrew out of a daily writing practice to clear heads and open hearts: a practice that author Nancy Dorrier will be sharing and exploring in this workshop. Admission includes a copy of the book. $34 for Members, $40 for Public.

 

New Series with the Director

Four sessions on Tuesdays: Oct 2, Oct 16, Oct 30, Nov 13, 2-4 PM

The Art of Compassion: A Study on Being with Amy Lewis Hofland

  • This fall series curated by Museum Director Amy Lewis Hofland, offers new ways of seeing, contemplating, and being with four Asian art history-based discussions sourcing art and compassion in action and why we need it now. The course includes a reading list. Class size is limited to 10. $150 for the Series (4 Classes) for Members, $200 for Public.

 

Well-being Lecture

Fri Oct 5, 12-1PM

The Ayurvedic Way
Center for Contemplative Leadership

  • Join us for monthly Ayurvedic talks by registered Culinary Dietician and Ayurvedic Wellness Expert Sapna Punjabi-Gupta. FREE.

 

Studio Workshop

Thu Oct 11, 6-9 PM; Sun Oct 14, 1-4 PM

Mandala Weaving Workshop

Pearl Art Studio

  • Radial designs, such as mandalas, are associated with spirituality in multiple cultures around the world. This workshop will teach participants how to make a woven mandala using the symbolic meaning of the inner circle as inspiration. $38 for Members, $45 for Public.

 

Studio Workshop

Sat Oct 20-Sun Oct 21, 10 AM-2 PM

Breathe: Art and Well-being Workshop + Artist in Residence

Pearl Art Studio

  • Veterans and first responders are invited to gather for monthly workshops centered around art, qigong, and making. Free for Veterans and First Responders.

 

Weekend Workshop

Sat Oct 20, 9am-3pm and Sun Oct 21 9 AM-12 PM

Immersive Mindfulness Training with MasterMind

Center for Contemplative Leadership

  • This Immersive Mindfulness Training will teach mindfulness as a way of bringing greater awareness, ease, energy, and freedom into daily life. $375 for Members, $395 for Public; Invest by Sep 29: $280 for Members; $295 for Public.

 

Studio Workshop

Thu Oct 25, 6-8 PM (last Thursday of the every month)

Hands-On Happy Hour

Pearl Art Studio

  • Liven up your Thursday evening with drinks and art making inspired by the arts of Asia. $25 forMembers, $30 for Public.

 

Studio Workshop

Sun Oct 28, 1-3 PM (last Sunday of every month)

Art of Stress Reduction Workshop

Pearl Art Studio

  • Relax and free your mind through an art activity that focuses on the process rather than the finished product. $25 forMembers, $30 for Public.

 

Well-being Lecture

Thu Nov 1, 1-2PM

The Ayurvedic Way

  • Join us for monthly Ayurvedic talks by registered Culinary Dietician and Ayurvedic Wellness Expert Sapna Punjabi-Gupta. $12 forMembers, $15 for Public.

 

Studio Workshop

Fri Nov 2, 5-7 PM

Teen Make

Pearl Art Studio

  • Like art? Like food? The Crow Museum has you covered! Grab a plate, meet some friends, and get creative with relaxed art making. $15 for teens ages 14 – 18.

 

Educator Program

Sat Nov 3, 10 AM-1 PM

Engaging Educators: Printmaking, Art, and Compassion in Action

Pearl Art Studio + Online

  • Educators join us for this engaging workshop inspired by the Mystical Arts of Tibetresidency, and contemporary exhibition, JACOB HASHIMOTO: Clouds and Chaos, as catalysts for exploring curricula through printmaking. Available in-person and online. $20 for Members, $25 for Public.

 

New Series

Mondays, Nov 5, Nov 19, Dec 3, Dec 17, Jan 7, Jan 28, Feb 11, Feb 25; 5-7 PM

Red Truck Program: Creative Writing and Storytelling

Center for Contemplative Leadership + Online

  • Join this innovative program designed for adults who want to jump into writing to discover a new world of creativity and storytelling. This approach to creative writing has a freedom and lightheartedness to it as we explore what we have to say about our lives and dreams. $1000 for Members, $1250 for Public.

 

Studio Class

Tuesdays, Nov 6, 13, and Dec 4, 6-9 PM

Reductive Woodblock Printing Class

Pearl Art Studio

  • In this four-part course, students will learn how to use a single block to create multi-colored woodblock print edition through selective carving, layering, and registration. $238 forMembers, $280 for Public.

 

Studio Workshop

Wed Nov 7, 10-11 AM

Start with Art

Pearl Art Studio

  • Designed for children ages 2-5, this experience will start with mindful movement, followed by unstructured art making. $12 forMembers, $15 for Public.

 

Well-being Workshop

Sat Nov 10, 12:00-4 PM

Breathe: Art and Well-being Workshop

Pearl Art Studio

  • The Breatheprogram invites local veterans and first responders to gather for monthly workshops centered around art, qigong, and making. Free for Veterans and First responders.

 

Studio Workshop

Sun Nov 11, 1-4 PM

Let’s Go (Make and) Fly a Kite!

Pearl Art Studio

  • Join us to make and decorate a Japanese-style kite and get flying! Ages 12 and up welcome. $34 forMembers, $40 for Public.

 

AfterDark

Fri Nov 16, 6 PM-Midnight

Kites at Night

  • Throughout your evening, enjoy kite making, meditations in the clouds, printmaking, and demonstrations. FREE.

Studio Workshop

Sun Nov 25, 1-4 PM (last Sunday of every month)

Stress Reduction Workshop

Pearl Art Studio

  • Relax and free your mind through an art activity inspired by the arts of Asia that focuses on the process rather than the finished product. $25 forMembers, $30 Public.

 

Studio Workshop

Thu Nov 29, 6–8 PM (last Thursday of every month)

Hands-On Happy Hour

Pearl Art Studio

  • Liven up your Thursday evening with drinks and art making inspired by the arts of Asia. $25 for Members, $30 for Public.

 

EVENTS

 

Festival

Tue Sept 25, 6:30-9:30 PM

Otsukimi Moon Viewing Festival

Klyde Warren Park

  • Celebrate the full autumn moon with an evening of onstage performances, artist demonstrations, art making, and treats and sweets under the night sky. In partnership with the Japan-America Society of Dallas/Fort Worth. FREE.

 

Artist Residency

Oct 6 – Oct 13, 10 AM-5 PM

Mystical Arts of Tibet

  • Join us in welcoming back the much-loved Tibetan Buddhist Monks from Drepung Loseling Monastery as they construct the Green Tara sand mandala for the Crow Museum.

 

Open Studio

Oct 6 – Oct 13, 10 AM-5 PM

Community Mandala

Pearl Art Studio

  • Experience the art of mandalas with Tibetan Buddhist Monks from Drepung Loseling Monastery while creating a magnificent mandala sand painting designed by local artist Isabella Brown. FREE.

 

Public Tour

Daily Oct 6 – Oct 12, 2-3 PM

Monks and Mandala Public Tour

  • Get a deeper look at the sand mandala through a guided tour and conversation. FREE.

 

Presentation

Sat Oct 6, 11 AM-12 PM

Mystical Arts of Tibet Opening Ceremony

  • Experience the beauty of this ancient ritual and blessing of the space as the Tibetan Buddhist Monks from Drepung Loseling Monastery prepare for the creation of the sand mandala. $25 for Members, $30 for Public.

 

Family Day

Sat Oct 6, 12-4 PM

Museum Unveiled! Crow Museum of Asian Art Grand Opening Celebration

  • All are welcome to explore the newly minted Crow Museum of Asian Artwith works of art, activities, performances, tours, and more. FREE.

 

Well-being

Sun Oct 7, 1-2 PM

Meditation with the Monks

Klyde Warren Park

  • Open to all and for all, stop by for a relaxing hour of meditation led by the Tibetan Buddhist Monks from Drepung Loseling Monastery. FREE.

 

Lecture

Tue Oct 9, 7-8 PM

Tea and Conversation with the Monks: Tibet Today: A History of a Diaspora

  • Enjoy a cup of tea and sit with the Tibetan Buddhist Monks from Drepung Loseling Monastery as they share the history of Tibet over the last century. $17 for Members, $20 for Public.

 

Lecture

Thu Oct 11, 12-1 PM

Tea and Conversation with the Monks: The Symbolism of the Sand Mandala

  • Join in a conversation with the Tibetan Buddhist Monks from Drepung Loseling Monastery around the iconography found in these sacred representations of religious texts. $17 for Members,$20 for Public.

 

Special Event

Fri Oct 12, 11 AM-2 PM

Meet-A-Monk

Klyde Warren Park

  • Stop by the East Lawn at Klyde Warren Park to meet the Tibetan Buddhist Monks from the Mystical Arts of Tibet artist residency and play a game or two. FREE.

 

Presentation

Sat Oct 13, 3-4 PM

Mystical Arts of Tibet Closing Ceremony

  • In a ceremony representing the impermanence of all that exists, the Tibetan Buddhist Monks of Drepung Loseling Monastery conclude their weeklong residency by dismantling the sand mandala. $34 forMembers, $40 for Public.

 

Presentation

Sat Oct 13, 4:30 PM

Mystical Arts of Tibet Sand Dispersal

  • Join the Tibetan Buddhist Monks of Drepung Loseling Monastery as they release the healing sands from the Green Tara mandala into the environment. FREE.

 

Presentation

Thu Oct 18, 3-5 PM

Betty Reiter Boutique Fashion Show and Tea

  • Join us for an elegant afternoon of high fashion and tea, generously hosted by Betty Reiter Boutique. Featuring pieces by Korean designer Lie Sang Bong, the fashion show will be held in the Museum’s newly remodeled galleries. Lie Sang Bong, dubbed the “Korean McQueen,” is known for his architecturally shaped silhouettes, vivid palettes, and energized volumes, and his clothing has been worn by the likes of Lady Gaga and Beyoncé. Tea and light hors d’oeuvres will be served. All proceeds benefit the Crow Museum of Asian Art. $100 per person; space is limited.

 

AfterDark

Fri Oct 19, 6 PM – Midnight

Up In The Clouds

  • Enjoy an evening up in the clouds with all things found in the sky inspired by our new exhibition JACOB HASHIMOTO: Clouds and Chaos.

 

Special Event

Sat Nov 3, 6 PM

Jade Ball

Crow Museum and Belo Mansion

  • Celebrate 20 years of the Crow with the second annual Jade Ball black-tie gala, chaired this year by Carmen Hancock. This elegant fundraising event benefits the Museum’s education programs which serve thousands of children, teens, and adults year-round. Visit crowmuseum.org for ticket information and more details.

 

 

ONGOING

 

Open Studio

Saturdays from 10 AM–5 PM

Pearl Art Studio

Every Saturday the Pearl Art Studio will be open to the public to drop in or stay awhile with hands-on making and creative fun. FREE.

 

Daily Well-being

Most of our Well-being classes are back at the Crow Museum of Asian Art. All classes are free, and donations are welcomed and appreciated.

 

Center for Contemplative Leadership

Mondays at 1 PM, Starting Oct 15

The Quiet Room

  • Join us for a moment or an hour of silence: the place you can really hear yourself think. Bring a lunch or just come sit in a space of reflection and quiet. The room is open and the mats and time are yours. FREE, donations greatly appreciated.

 

Tuesdays at 1 PM, starting Oct 16

Qigong

  • Qigong(pronounced Chee Gung) is sometimes described as being “the soul of Tai Chi.” Dating back more than 4500 years, qigong is considered one of the deepest roots of traditional Chinese medicine and martial arts. This practice builds strength, flexibility, and balance in the muscles and joints through gentle, flowing movements. FREE, donations greatly appreciated.

 

Wednesdays at 1 PM, starting Oct 17

Mindful Meet Up

  • Join us to learn science-based mindfulness practices to reduce stress, increase attention, and strengthen the capacity for compassion. This class focuses on breathing techniques and brief meditative exercises that can be readily incorporated into all aspects of daily life. FREE, donations greatly appreciated.

 

Klyde Warren Park

Thursdays at 10 AM, starting Oct 18

Walking Meditation

  • Put on—or better yet, take off—your walking shoes and enjoy a mindful stroll in downtown Dallas’ urban green space, Klyde Warren Park. This relaxing practice uses mindful movement in an outdoor setting to enhance the connections among the body, mind, and our surroundings. FREE, donations greatly appreciated.

 

Fridays at 1 PM, starting Oct 19

Slow Flow Vinyasa Yoga

  • Go with the flow and enjoy the slow. Create balance, stability, and support for the spine and the entire body by syncing the breath with yoga postures in this flow-based class. This practice builds heat, flexibility, and strength while staying kind and gentle on the body. FREE, donations greatly appreciated.

 

Saturdays at 10 AM, starting Oct 20

Tai Chi

  • Tai Chi (Tai Chi Chuanor Tai ji) is a Chinese martial art known for its graceful, meditative form. It involves 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. FREE, donations greatly appreciated.

 

Sundays at 1 PM, starting Oct 21

Meditation

  • End your weekend with relaxation and rejuvenate for the week ahead. Join this guided group meditation to experience a deeper sense of awareness and increase your attention and focus. FREE, donations greatly appreciated.

 

Sundays from 2–6 PM, starting Oct 21

Compassion Now: Meditation in the Galleries

  • On Sundays, stop by anytime between 2:00 and 6:00 pm for contemplative reflection. This is not a guided meditation class but rather the opportunity to take some time out of your day to be still, nurture self-compassion, and offer compassion to the world. Meditation mats are provided. FREE, donations greatly appreciated.

Amon Carter Museum of American Art News, Exhibitions

The Amon Carter Museum of American Art Announces the Expansion of the Museum’s Curatorial Department with the Addition of Two New Positions

Kristen Gaylord Joins the Museum as the Assistant Curator of Photographs and

Spencer Wigmore is Appointed Assistant Curator of Painting, Sculpture, and Works on Paper

The Amon Carter Museum of American Art announced the addition of two new curatorial positions appointed to Kristen Gaylord, Assistant Curator of Photographs, and Spencer Wigmore, Assistant Curator of Painting, Sculpture, and Works on Paper. Under the direction of Brett Abbott, the museum’s Director of Collection and Exhibitions, Gaylord and Wigmore will assist with initiatives aimed at caring for and presenting the works of art in the museum’s collection from their respective areas of focus through research, conservation, development and contribution to publications, and organization of exhibitions.

Hedda Sterne (1910–2011)
Untitled (Metaphores and Metamorphoses VIII), 1967
Lithograph
© 2018 The Hedda Sterne Foundation / Artists Rights Society (ARS), New York

Exhibitions

Hedda Sterne: Printed Variations Through January 27, 2019

In Our Own Words: Native Impressions Through October 7, 2018

The Theatrical Wild West Through October 7, 2018

Commanding Space: Women Sculptors of Texas Through November 18

 

Modern Art Museum of Fort Worth Exhibitions and Lectures

2018-2019 Exhibition Schedule

PLEASE NOTE: The Modern will continue to be free every Friday and half-price every Sunday.

Laurie Simmons. Courtesy of The Modern

Laurie Simmons: Big Camera/Little Camera

October 14, 2018 – January 27, 2019

 

The Modern Art Museum of Fort Worth presents a major survey of works by Laurie Simmons (American, born 1949), organized by Andrea Karnes, senior curator, with full support of the artist. This exhibition showcases Simmons’s photographs spanning the last four decades, from 1976 to the present, a small selection of sculpture, and two films.

As someone from the generation raised on television and advertising, and as a woman who matured as an artist in New York in the 1980s amidst a thriving urban backdrop, Laurie Simmons absorbed the idea that identity in America is multifaceted yet homogenized through a blitz of cultural signs. From the beginning, Simmons has used photography in a conceptual mode to investigate manufactured gender constructs and stereotypes and how they impact us all. In her early iconic photographs, she staged miniature domestic scenes featuring female dolls in doll houses in a process similar to that of the ad agencies on Madison Avenue that invented romanticized versions of women and men; however, Simmons showed the flip side of the American dream. She has since created 36 photographic series using combinations of plastic props, actual objects, dolls, doll houses, and people posed to look like dolls, largely to portray the role-playing of real women and men. Examining key works over the course of her career elucidates how photography became the ideal framework for her observations of archetypal Western gender roles — a topic as potent today as it was when she first began making art.

“Simmons’s imagery takes into account her own experience of coming of age in the 1950s,” says Andrea Karnes. “Without being autobiographical or spelling out specific narratives, however, the work strikes a psychological chord, seeming to underscore the difficulties of living the American dream, or in a larger context, any dream of domestic bliss.”

Laurie Simmons: Big Camera/Little Camera is organized by the Modern Art Museum of Fort Worth and travels to the Museum of Contemporary Art Chicago in 2019.

 

Lectures in conjunction with Laurie Simmons: Big Camera/Little Camera:

 

Andrea Karnes in conversation with Laurie Simmons

October 9, 7 pm

Artist Laurie Simmons discusses the making of the Modern’s major survey Big Camera/Little Camera with the exhibition’s curator, Modern Senior Curator Andrea Karnes. This special presentation offers insight into Simmons’s work featured in the exhibition, her career, and the processes and premise of Big Camera/Little Camera as a collaborative effort between artist and curator.

 

Laurie Simmons and Carroll Dunham

November 13, 7 pm

Artist Laurie Simmons is in conversation with her husband, artist Carroll Dunham, for an extraordinary presentation in which the two renowned artists discuss the role art plays in their life together and how their life together informs their art, all in conjunction with the Modern’s survey of Simmons’s art, Big Camera/Little Camera.

 

Njideka Akunyili Crosby, Dwell: Aso Ebi, 2017. The Baltimore Museum of Art: Purchased as the gift of Nancy L. Dorman and Stanley Mazaroff, Baltimore, in Honor of Kristen Hileman, BMA 2018.79. Image copyright: Courtesy the artist and Victoria Miro, London

FOCUS: Njideka Akunyili Crosby I Counterparts

December 1, 2018 – January 13, 2019

 Los Angeles-based artist and 2017 MacArthur Genius Fellow Njideka Akunyili Crosby draws upon her experience of moving from Nigeria to the United States while maintaining ties to her family in Africa and building relationships in America. Layers of paint, fabric, and photographic transfers not only energize the interiors and figures depicted in the artist’s works but serve as a metaphor for the complex merging of cultural backgrounds that contribute to Akunyili Crosby’s sense of self.

Akunyili Crosby’s works incorporate signs of both Nigeria and the United States through the images of hairstyles, fashions, architecture, and furnishings taken from Nigerian magazines and commemorative fabric printed with portraits, giving her paintings a global context. For her FOCUS exhibition, the artist has created a series of visually and conceptually mirrored pairs of paintings. One juxtaposes a Nigerian interior with Akunyili Crosby’s Los Angeles home. In another, a Nigerian table setting is matched with an American example. The Nigerian image is centered around the trappings of afternoon tea, a custom brought to the country by its British colonizers that continues to incorporate European food products. The composition also includes a colorful plastic African “Clonette” or “DeiDei” doll of a Caucasian girl in Western dress and a Kris Okotie album cover inspired by Michael Jackson, both symbols of a popular culture shared internationally. The American counterpart to this still life offers a more troubling take on the interface of cultures. Embedded in the accoutrements of a Thanksgiving feast is a “blackamoor” serving dish, a disturbing decoration that trivializes the terrible history of African slavery in America. The exhibition’s two largest works isolate contemplative figures in architectural contexts that are alternately informed by Nigerian and American homes. In these detailed images, Akunyili Crosby augments paint with Nigerian portrait fabrics produced for ceremonies such as weddings, burials, and political campaigns. (The artist’s mother was a respected politician.) She also applies photographic transfers from Nigerian fashion and society publications that connect traditional Nigerian styles, fabrics manufactured in the Netherlands, and Western trends.

The exhibition is organized by The Baltimore Museum of Art.

 

 

FOCUS: Dirk Braeckman

January 26 – March 17, 2019

The photographs of Ghent-based Dirk Braeckman (b. 1958, Eeklo, Belgium) have a distinct stillness and quietude that counter the whirl of today’s visual landscape. Images of empty, unidentifiable interiors, architectural details, oceans, and partially obscured nude figures are just some examples of the artist’s subject matter. Braeckman’s deeply gray photographs are often abstracted, contributing to the mystery and intrigue of what his images convey while adding a sense of distance to the intimate interiors and views he depicts. Rather than setting up scenes or shots, Braeckman travels with a camera and captures what he sees, including hotel rooms, museums, and vacant corridors; his approach is partly diaristic, yet because the locales are anonymous and the photographs’ titles are unclear codes, Braeckman’s work is relatable and open-ended, eschewing photography’s documentary impulse. This fluidity is intentional and meant to engage, as the artist states: “I’m not a storyteller, I’m an imagemaker. The story is made in the mind of the viewer.”

Since the mid-1980s, Braeckman has tested the limits of photography, especially its materials and processes. Challenging the reproducibility of a photographic image, particularly in light of today’s vast dissemination of images, Braeckman creates unique prints using analogue processes and physically taxing experimental methods in the darkroom. The individuality of his images and the physical nature of his processes are evocative of painting, as is the rich tactility his unglazed photographs embody.

 

Kimbell Art Museum Exhibition and Lectures

Balenciaga. Veste et robe. Ensemble (habillement). Cloqué matelassé lamé Lurex, doublure en crêpe de Chine. 1968. Galliera, musée de la Mode de la Ville de Paris.

Exhibitions

BALENCIAGA IN BLACK

October 7, 2018 to January 6, 2019

Cristóbal Balenciaga (1895–1972) is often called “the couturier’s couturier”—the fashion designer revered by all other fashion designers. From his first runway collection, in 1937, through the closure of his Paris salon, in 1968, Balenciaga’s clients were among the most influential trendsetters of the day. This autumn, the Kimbell Art Museum will partner with the Palais Galliera, the distinguished fashion museum of the city of Paris, to present Balenciaga in Black, an exhibition of more than one hundred pieces from the collections of the Galliera and the archives of the Maison Balenciaga.

The carefully selected costumes and accessories, all made by hand in the haute-couture ateliers of this fashion genius, share one major feature: they are all black. For Balenciaga, black was vibrant, capable of exhibiting a dazzling interplay of light through luxurious fabrics and materials. This exhibition reveals the masterful shapes created by the artist with apparently simple cuts and impeccably composed adornments of lace, embroidery, silk, fringes, beads, and sequins. These expertly executed, timeless silhouettes continue to inspire modern fashion.

This exhibition is organized by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.

 

GOYA IN BLACK AND WHITE

October 7, 2018 to January 6, 2019

Francisco de Goya y Lucientes is among the best-known figures in the history of Spanish art and renowned as one of the greatest painters of all time. He is also revered as one of history’s greatest draftsmen and printmakers. This exhibition will showcase more than seventy-five of his paramount works on paper from the unparalleled collections of the Museum of Fine Arts, Boston. Goya in Black and White will explore the evolution of the artist’s graphic work in all media. The importance of black and white will be shown throughout the exhibition—not only literally, in black ink on white paper, but also figuratively, as in the oppositions of night and day, the balance between menacing shadow and hopeful light, that pervade the artist’s imagination. In the Kimbell’s exhibition, Goya’s principal series and best-known compositions, including the Caprichos series, The Sleep of Reason Produces MonstersDisasters of WarDisparates, and Tauromaquia, will be represented in detail, some works in multiple impressions, to show the creative evolution of the artistic process of a genius.

This exhibition is organized by the Museum of Fine Arts, Boston.

 

Lectures & Discussions

Year-round evening, weekday, and Saturday lectures by Museum staff and guest speakers explore various topics relating to the permanent collection and special exhibitions on view at the Kimbell Art Museum.

CART captioning for public lectures and special exhibition symposia is available by request with at least three weeks advance notice. E-mail education@kimbellmuseum.org or call 817-332-8451, ext. 713, to place a request.

Some programs require advance reservations.

 

Friday Evening Lectures

SELECTED FRIDAYS, 6 PM

Evening lectures by distinguished guest speakers, held throughout the year, address a range of topics relating to the appreciation and interpretation of art.

Free; no registration required. Seating is limited. Pavilion Auditorium; simulcast in Kahn Auditorium.

Guillaume Kientz, curator, department of paintings, Musée du Louvre, Paris
Friday, October 12, 2018 – 6:00 PM
Hamish Bowles, European editor-at-large, Vogue, New York

Friday, October 26, 2018 – 6:00 PM to 7:00 PM

Thomas E. Rassieur, John E. Andrus III Curator of Prints and Drawings, The Minneapolis Institute of Arts, Minneapolis

Friday, November 2, 2018 –6:00 PM to 7:00 PM

Valerie Steele, director and chief curator, The Museum at the Fashion Institute of Technology, New York

Friday, December 7, 2018 – 6:00 PM to 7:00 PM

Wednesday Series: Art in Context Lectures

SELECTED WEDNESDAYS, 12:30 PM

These lectures, part of a continuing series, introduce the permanent collection and selected exhibitions on view at the Kimbell Art Museum.

Free; no reservations required. Seating is limited.

Piano Auditorium

Scott Winterrowd, director of education, Meadows Museum, Southern Methodist University, Dallas

Wednesday, October 17, 2018 – 12:30 PM to 1:30 PM

Tara Zanardi, associate professor, art history, Hunter College, City University of New York

Wednesday, November 7, 2018 – 12:30 PM to 1:30 PM

Rafael Barrientos Martinez, PhD student, University of California, Los Angeles

Wednesday, January 16, 2019 – 12:30 PM to 1:30 PM

 

The Artist’s Eye

SELECTED SATURDAYS, 11 AM

What does the art of the past mean to the artist of the present? In this ongoing program, moderated by Kimbell staff, artists and architects discuss works in the Museum’s collection, share the special insights of the practicing professional, and relate older art to contemporary artistic concerns, including their own.

Free; no reservations required.  Seating is limited.

Kahn Building galleries

Moderated by Eric M. Lee, director

Saturday, October 20, 2018 – 11:00 AM to 12:30 PM

Moderated by George T. M. Shackelford, deputy director

Saturday, December 1, 2018 – 11:00 AM to 12:30 PM

Moderated by Claire Barry, director of conservation

Saturday, January 12, 2019 – 11:00 AM to 12:30 PM

Symposia & Inaugural Lectures

Inaugural lectures, panel discussions, and daylong symposia featuring leading experts from all over the world launch the opening of the Museum’s special exhibitions.

Free; seating is limited. No reservations required. Priority admission reserved for Kimbell members who present a current membership card at least twenty minutes before the program begins.

Piano Auditorium

Saturday, October 6, 2018 – 10:00 AM to 1:00 PM

Saturday, February 9, 2019 – 10:00 AM to 1:00 PM

State of the Arts

FRIDAY, SEPTEMBER 28, 6 pm

Trailblazers: Fort Worth’s Emerging Creative Class

Fort Worth is now the youngest city in the state of Texas—and you can feel a buzz all over the place. A new generation is reinventing neighborhoods with repurposed venues and innovative approaches to everything from retail design, film, public art, cuisine, and even curated events. Meet some of the trailblazers who are embracing our city’s traditions—its world-class arts organizations and unique western heritage—but adding their own spin, and, along the way, reshaping our ideas about culture. After the discussion, continue the conversation at a reception in the Pavilion Lobby presented by Visit Fort Worth.

Susan Gruppi and Jessica Miller, M2G Ventures

Jonathan Morris, Fort Worth Barber Shop

Red Sanders, Red Productions

Noel and Sara Viramontes, Blackhouse

 

ARTMinded Podcast

Art Minded Podcast logo from the iTunes Store

The Kimbell Art Museum presents “ARTMinded,” a free podcast produced by the Museum that offers new perspectives on the works in the Museum’s permanent collection and special exhibitions. Each episode will provide unusual viewpoints that enhance and sometimes even challenge customary engagement with artworks.

The inaugural season of “ARTMinded” begins with a series of guided meditations produced in collaboration with Elemental Yoga and the Mind Arts. Designed to be enjoyed by meditation experts and novices alike, each fifteen-minute guided meditation focuses on a work of art in the special exhibition From the Lands of Asia: The Sam and Myrna Myers Collection. Buddhist icons and Tibetan mandalas come alive before the viewer as Elemental Yoga takes the listener on a journey to deep, mindful relaxation with illustrative visualizations and breathing techniques.

Please click on the links below to download the podcast:
Apple Store
Google Play

 

Artful Readings

SELECTED FRIDAY EVENINGS, 5:30–7 PM

Participants explore connections in the literary and visual arts through group discussions and special presentations on selected books. Includes wine and light refreshments, as well as a 20% discount on Artful Readings selections in the Museum Shop.

To register or to be placed on a waitlist, please call 817-332-8451, ext. 351, or email edassist@kimbellmuseum.org. Pricing information is listed below.

  • Single session for nonmembers: $20
  • Single session for members: $16
  • Series of three for nonmembers: $50
  • Series of three for members: $40

Artful Reading programs

 

View the full listing of the Kimbell’s upcoming Lectures & Discussions

Meadows Museum News, Exhibitions, and Lectures

Amanda W. Dotseth Appointed Curator 

Following a six-month national and international search, the Meadows Museum, SMU has appointed Dr. Amanda W. Dotseth to the position of curator. An accomplished scholar, Dotseth conducts research that is grounded in the Spanish Middle Ages, but has addressed a wide range of topics, including architecture, panel painting and the history of collecting. Dotseth is currently completing a Meadows/Mellon/Prado postdoctoral fellowship at the museum; she will begin her new role as curator on September 19, 2018. During the two years of her fellowship, Dotseth has curated or co-curated exhibitions such asZurbarán: Jacob and His Twelve Sons, Paintings from Auckland Castle; Chillida in Dallas: De Música at the Meyerson; and At the Beach: Mariano Fortuny y Marsal and William Merritt Chase. She also coordinated the first colloquium of current and former Meadows/Prado fellows and organized a symposium on medieval Spanish art featuring internationally recognized scholars in the field.

Meadows Museum Director Mark A. Roglán stated, “We are thrilled to have Dr. Dotseth join the Meadows Museum staff, bringing her passion for scholarship on Spanish art to us on a long-term basis. We know from experience that Amanda’s curatorial eye has enhanced the museum’s work on many projects. Looking to the future, she will be an invaluable asset in helping us identify acquisitions, cultivating partnerships and supporters, and serving as an advocate for the museum both within and outside Dallas.”

“I take pride in the long relationship I have had with the Meadows Museum and its staff. I remain invested in the success of the institution, which, like me, has grown and diversified significantly since my tenure as assistant curator,” said Dotseth, referring to her history with the museum beginning with her very first role at the Meadows more than ten years ago. “I am deeply impressed with the expansion of the Meadows’s collection, as well as its ambitious scholarly collaborations, recruitment of talented staff, and commitment to establishing itself as a premier center for the study of Spanish art. There is still much to be done, and so I welcome the opportunity to help shape the Meadows’s future.”

Amanda Dotseth completed her PhD at the Courtauld Institute of Art in 2015 with a dissertation titled, “San Quirce de Burgos: Reframing Romanesque Architecture in Castile.” During her doctoral studies, she also served as a pre-doctoral fellow at the Spanish National Research Council in Madrid. Dotseth completed her MA at SMU in 2006, after which she served for three years as the assistant curator at the Meadows Museum, where she curated numerous exhibitions and was instrumental in the research project, exhibition and catalogue Fernando Gallego and His Workshop: The Altarpiece from Ciudad Rodrigo. During that period, Dotseth helped to secure funding for a number of important acquisitions—including works by Jaume Plensa, George Rickey, María Blanchard and Martín Rico y Ortega—and collaborated on the reinstallation of the museum’s permanent collection galleries and sculpture garden.

Currently an associated scholar for the project “The Medieval Treasury across Frontiers and Generations: The Kingdom of León-Castile in the Context of Muslim-Christian Interchange,” funded by a Spanish National Grant, Dotseth has received numerous grants and awards for her research on medieval Spanish art. She previously held a Fulbright fellowship and received the British Archaeological Association’s Ochs Scholarship, among other awards, in support of her dissertation research in Spain.

 

Salvador Dalí (Spanish, 1904–1989), Aliyah, plate 1, from Aliyah, 1968. Lithograph on Arches paper. Meadows Museum, SMU, Dallas. Museum purchase thanks to a gift from Linda P. and William A. Custard and The Meadows Foundation in tribute to the Honorable Janet Pollman Kafka, Honorary Consul of Spain, for her twenty years of service, MM.2017.02.20. © 2018 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Photo by Kevin Todora

Exhibitions

 

Dalí: Poetics of the Small,1929–1936

Sep. 9–Dec. 9, 2018

 

Dalí’s Aliyah: A Moment in Jewish History

Sep. 9, 2018–Jan. 13, 2019

 

Murillo at the Meadows: A 400th Anniversary Celebration

Through Dec. 2, 2018

 

Events

Concert: Lazos sobre el Atlantic/Ties Over the Atlantic

Oct. 18, 6:30 pm

Meadows Museum

 

Film: Rafael Azcona’s The Executioner

Oct. 25, 6:00 pm

Meadows Museum

 

Concert: The Great Stravinsky: An Evening of Chamber Music

Nov. 15, 6:30 pm

Meadows Museum

 

Performance: Dalí Interactive

Dec. 1, 10:00 am-5:00 pm

Meadows Museum

 

 

 

 

Lectures

 

Lecture Series: Salvador Dalí and the Resurgence of Surrealism

Sep. 21-Oct. 26, 10:30 am

Josh Rose

Meadows Museum

 

 

 

Gallery Talk: Artful Conversations

Oct. 16, 2:00 pm

Scott Winterrowd & Anne Kindseth

Meadows Museum

 

Gallery Talk: Dalí, Surrealism, and Psychoanalysis

Oct. 26, 12:15 pm

Anna Lovatt

Meadows Museum

 

Lecture: Dalí and the Surrealist Moment

Nov. 8, 6:00 pm

William Jeffett

Meadows Museum

 

Gallery Talk: The Meadows in Contemporary Painting

Nov. 9, 12:15 pm

Francisco Moreno

Meadows Museum

 

Gallery Talk: Artful Conversations

Nov. 13, 2:00 pm

Scott Winterrowd & Anne Kindseth

Meadows Museum

 

Lecture: Salvador Dalí’s Techniques and Studio Practice in Panel Painting

Nov. 17, 10:30AM to 12:00PM

Irene Civil & Claire Barry

Meadows Museum

 

Gallery Talk: Small Charms: Dalí and Poetry

Dec. 7, 12:15 pm

Anne Keefe

Meadows Museum

 

Gallery Talk: Artful Conversations

Dec. 11, 2:00 pm

Scott Winterrowd & Anne Kindseth

Meadows Museum

Nasher Sculpture Center Exhibition

The Nature of Arp
Jean (Hans) Arp, Human Concentration, 1934
Marble, 13 ¼ x 16 x 15 ½ in. (33.7 x 40.6 x 39.4 cm)
© 2018 Artists Rights Society (ARS), NY / VG Bild-Kunst, Bonn

The Nature of Arp

September 15, 2018 – January 6, 2019

The Nature of Arp provides a long-overdue look at the achievements of Jean (Hans) Arp (1886-1966), one of the most important and multifaceted artists of the modern era.  As a founder of the international Dada movement during World War I, Arp pioneered the use of chance, spontaneity, and collaboration as artistic processes and subsequently developed a vocabulary of curving, organic forms that was to become the lingua franca for several generations of artists.  Arp’s sculptures, begun in the early 1930s, often have no use for a pedestal, can be turned in different orientations, and seem to pulse with incipient life. In later years, he put his sculptures through complex processes of fragmentation, casting, recasting, and enlarging. 

Bringing together more than 80 objects, including sculptures, reliefs, collages, drawings, textiles, and books, The Nature of Arp will include works drawn from prominent U.S. and European museums, foundations, and private collections. Organized by the Nasher Sculpture Center, the exhibition will be accompanied by a richly illustrated catalogue including essays by several authors, including Catherine Craft, Nasher Curator and curator of the exhibition. The Nature of Arp  is supported by the National Endowment for the Arts and by the Swiss Arts Council Pro Helvetia.

TRACY HICKS: COLLECT PRESERVE CHANGE at UTD SP/N Gallery

TRACY HICKS

COLLECT   PRESERVE   CHANGE

September 4 – November 10, 2018

The fall, the University of Texas at Dallas’s SP/N Gallery hosts a retrospective of noted Dallas artist Tracy Hicks (1946- 2014). The show looks at a lifetime of art intersecting with science through making, collecting, documentating, creative partnerships, and innovative visual adaptations.

A maverick in his creative research pursuits, Hicks was chosen to participate in one of the early rounds of artists at the renown Project Row House in Houston  along with Fred Wilson and Shahazia Sikander. This was followed by a collaboration with Rick Lowe in his Mobile Media Lab on a photo archive of Houston’s Third Ward.

Tracy Hicks showed opposite Damien Hirst at the DMA in 1994. In 2010 Hicks was one of the first artists selected for a coveted Smithsonian Artist Research Fellowship (SARF), established to bring together Smithsonian scientific experts and “outstanding visual artists.”

Hicks saw art as “a structural framework that parallels science, sometimes incorporating objective knowledge but grounded in subjective interpretations that leave room for irrational possibilities and whims.” 

He described himself as “an archivist guided by visceral impulses in exploring our ever-changing human landscape, both physically and conceptually. I create archives and then dig into them (as well as archives created by others) to constantly interpret and reinterpret the substance of reality.”

There is much to see in this 20-year retrospective. The exhibition includes Hicks’s major works: Freedman’s Field, Darwin, and Third Ward Archive. It is an opportunity to experience the art and world of this significant artist.

The exhibition runs through Nov. 10 in the UTD SP/N Gallery.

The University of Texas at Dallas

SP/N Gallery

3020 Stewart Dr.

Richardson, TX 75080

Gallery Hours

Tues, Wed, Sat 11:00 am – 4:00 pm

Thurs & Friday 1:00 pm – 6:00 pm

Latino Art Now! 2019 Call For Papers, Panels, Presentations

Latino Art Now! 2019

April 4-6th, 2019

Sight Lines & Time Frames

National Conference on Latino Art

A program of the Inter-University Program for Latino Research

Hosted by The University of Houston’s Center for Mexican American Studies and the Smithsonian Latino Center

Call For Papers, Panels, Presentations

Deadline October 1, 2018

The 6th Latino Art Now! will consider a wide range of subjects relating to the this year’s theme: Sight Lines | Time Frames. “Sight Lines” refers to the building of critical visual literacy as well as the meaning-making curatorial practice of situating artworks in relation to each other and within multiple (art) histories. “Time Frames” signals that Latino art is an evolving notion traversing multiple generations and varying historical and social contexts. LAN! 2019 seeks to make as many of these practices and contexts as possible visible to one another.

Previous editions of LAN! were held at the University of Illinois-Chicago (2016) and at the Smithsonian Institution (2013) in Washington, DC. As a heavily Latino cosmopolitan city in a border state, and one of the busiest points of exchange between Latin America and the US, Houston is uniquely situated to host LAN! 2019. More than twenty Houston area museums, galleries, universities and cultural centers will host exhibitions and events alongside the three-day conference.

All subjects relating to US Latino art may be proposed, with the following topics suggested:

  • New directions in Latino/a art: LatinX, Afro-Latinidad, Queer Latinidad
  • Puerto Rico post-Maria and the broader Caribbean
  • Indigenous intersections
  • Feminisms: past, present, and future
  • Anti-gentri cation art and practice
  • Artistic responses to anti-immigrant discourses
  • Museums and Latino art
  • Digital humanities
  • Latino art before 1960
  • Publishing and pedagogy
  • Latino and PoC solidarity networks: then and now
  • Latino art situated in art history

Non-traditional formats are also welcome. Please email abstracts (500 words), presenter bios (150 words per presenter), or thorough descriptions of non-traditional formats along with participant bios to the LAN! Program Committee: laninfo2019@gmail.com by midnight of October 1, 2018.

Remembering Margaret McDermott

Margaret McDermott was the philanthropist extraordinaire in a city of philanthropists. She relished her city and, within it, her beloved Highland Park, and her contributions knew very few bounds. A list of the institutions and individuals to whom she made generous contributions would be so long as to defy comparison. Her gifts varied from multi-million-dollar commitments for capital and endowment at major and minor Dallas institutions to small acts of charity to her friends and their children. Her love of UT Dallas was boundless, even as she demonstrated deep involvement with the programs and financial health of the two non-Texas universities to which she devoted so much of her life, MIT and Stanford.

UT Dallas received a lion’s share of her generosity, including many chaired professorships, the Wildenthal Honors College, the Eugene McDermott Scholars Program, the Brettell Award in the Arts, and the transformational landscaping designed by her friend and the first recipient of the Brettell Award in the Arts, Peter Walker. One of Margaret McDermott’s last extraordinary acts was to invite Peter Walker’s entire Berkeley-based firm–35 people–on an all-expenses-paid visit to Dallas, and the last dinner party of the many thousands she hosted in her long life was held in honor of Peter and his team. She spent hours visiting with each of the visitors and stayed up well past her bedtime–whatever that might be for a woman of 106 years.

Margaret will remain for a very long time the largest donor to UT Dallas in our short but intensely productive history. Because of her, the University’s aspirations toward excellence were fulfilled much more quickly than anyone ever expected. And, if she had any regrets before her death, it was that she would not be able to celebrate UT Dallas’ 50th anniversary, which we will celebrate in 2019.

There was another institution to which Margaret McDermott was committed for decades, The Dallas Museum of Art. Indeed, she created a truly global art museum from one that had been a regional institution in her youth. Its holdings of African, Pre-Hispanic, and Indonesian art are due almost solely to her leadership and financial commitments, and there is not a single collecting area in the museum that has not been enriched by her. I spent my first day following her passing walking through the DMA and visiting the hundreds and hundreds of works of art given by her, purchased from funds donated by her, and given in honor of her dearest friends.

She worked and chatted and gave and supported and enjoyed until the last week of her long life, filling each day of her calendar with the people she adored, with music, art, gardens, theater–you name it. If anyone lived life to its fullest, it was Margaret McDermott. We all have “Margaret stories.” Now is the time to share them.

I am lucky to have been named the Margaret McDermott Distinguished Chair in Aesthetic Studies–the first chair in her name, created with a gift from her dear friend, the late Nancy Hamon.

I also had the pleasure and privilege of co-authoring, with her, her final publication: Reflections, which we wrote together and which was published by her dear friend Rue Judd with wonderful photographs and short essays. Now that she is gone, the boxes and pallets of books completed several years ago will be released by the institution to which she was so committed, The Dallas Museum of Art. When the paintings and sculptures she bequeathed to the museum are installed, her beloved DMA will reach another level in its long climb to international excellence.

Richard R. Brettell, Ph.D.

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

 

Ellen Brettell, Margaret McDermott, Rick Brettell

 

Read more at UT Dallas’s Legacy website 

Director’s Welcome

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

We have had an unusually busy spring term—even by our own usually busy standards. Our Senior Visiting Research Fellow, Professor Suzanne Blier from Harvard University, not only delivered a stimulating public lecture at the Dallas Museum of Art on newly identified sources for Picasso’s Les Demoiselles d’Avignon, but also has guided seminar students through the technological marvels of Harvard’s WorldMap project. She has even proposed a long-term relationship between Harvard and UT Dallas on this latter project.

We also held major public lectures by three distinguished art historians: Dr. Abigail Solomon-Godeau, the historian of photography; Dr. Yve-Alain Bois, art historian at the Institute of Advanced Study in Princeton; and Dr. Thomas Gaehtgens, the recently retired Director of the Getty Research Institute. Two of the lectures were held at our partner institution, the Dallas Museum of Art.

Another important partner of EODIAH is our sister institution in California, the Getty Research Institute, the largest and wealthiest art history research center in the world. Its Director, German-born Dr. Thomas Gaehtgens, has been so impressed by our progress at the O’Donnell Institute that he brought his National Advisory Council and key staff members to visit us in Dallas, starting their trip at UT Dallas to the Institute’s headquarters and learn about our plans for the future. With their blessing, we are sure to head in the right direction.

Former Getty Director Dr. Thomas Gaehtgens, seated, left, with his National Advisory Council staff members visit EODIAH

Our two international partnerships in Naples and Nanjing are humming along. Dr. Kozlowski will soon be able to announce the names of the first group of research residents at our new center in Naples, and in this newsletter I will report on the extraordinary series of research trips arranged for Drs. GAO Xin and LIU Yi, our two Visiting Research Fellows from Nanjing University, organized with real aplomb by Lauren LaRocca with the collaboration of our Amon Carter Museum partners.

My news is that my wife Carol and I, after nearly half a century in academic life, have each been granted a one-year leave from our respective universities and will be away from UT Dallas for the academic year 2018-2019. Dr. Sarah Kozlowski will serve as Acting Director of the Institute. Dr. Max Schich, our large-data art historian who is returning to Dallas after a leave of absence in Munich, will be Acting Assistant Director and will be in charge of our Nanjing University partnership.

While on leave, I will concentrate on the completion of my longest-term research project, the Catalogue Raisonné of the Paintings of Paul Gauguin, which will be published by the Wildenstein-Plattner Institute.  I will be ably assisted by one of our own, Dr. Elpida Vouitsis, who completed her Ph.D. in Art History in 2016 and who will work with me as a Senior Research Associate. Of course, I will make myself readily available to my colleagues for Wallace Athenaeum matters as needed.

 

The Wildenstein-Plattner Library

The Institute’s library consultant, Mr. Milan Hughston, recently retired Director of Libraries and Archives at the Museum of Modern Art, has been negotiating a formal memorandum of understanding between UT Dallas and the Wildenstein-Plattner Institute in New York, Paris, and Berlin, for the digitization gift of the entire Paris-based art library to UT Dallas. It too will be housed in its own named building and form part of the Wallace Athenaeum.

The Wallace Athenaeum

After more than a year of planning and meeting, the team of consultants hired by the Institute to envision and program an Athenaeum for UT Dallas concluded their work in March. Members included Peter Walker, the University’s landscape architect; Gary Cunningham, the architect of the O’Donnell Institute’s UT Dallas headquarters and our architectural consultant; Ginger Geyer, an Austin-based artist who has worked extensively in fine arts programming including at the DMA; Milan Hughston, retired Director of Libraries and Archives at the Museum of Modern Art, who served as library consultant; Dr. Anne Balsamo, Dean of the School of Arts, Technology, and Emerging Communication at UT Dallas, as our technology consultant; Lucy Buchanan, as the Institute’s Director of Development; and EODIAH Distinguished Scholar in Residence Bonnie Pitman as our museum consultant.

As the chair of the committee for its many meetings in Massachusetts, Austin, New York, and Dallas, I can say that we have completed our work and have planned an ambitious complex of buildings for UT Dallas, the first phase of which will include the Wildenstein-Plattner Library (with other private libraries), and a building to house all the public and scholarly activities of the Wallace Athenaeum. This process of careful team-based planning is unusual in any university, but to my mind it was essential to programming a building that will be completely new to American campus life. The only functioning Athenaeum at any American university is the Athenaeum at Caltech, founded in 1929 and now used as a faculty club and event center.

The very first public presentation of the Athenaeum occurred at “the mother ship,” The University of Texas at Austin, in a fascinating conference organized around the idea of the destruction of archives, books, and thus history. Attended by a wide cross section of faculty and students, particularly art historians, the symposium was the direct result of the evisceration of the Fine Arts Library at UT Austin by the College of Fine Arts’ own Dean. The faculty and students were impressed by the efforts of a science and technology university to put the arts–and related libraries—at the very center of its campus.

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, Assistant Director
The Edith O’Donnell Institute of Art History

As the 2017-2018 academic year draws to a close and I look ahead to a summer of research, writing, and ongoing work on our projects in Naples at the Capodimonte and here in Dallas at the Wilcox Space, I’m already anticipating the launch of the Fall semester, when our community of scholars and students at the O’Donnell Institute will change and grow.

In addition to the three new Visiting Research Fellows from Nanjing University, we will welcome new Edith O’Donnell Graduate Fellows. 

Madhavi Biswas will join us to complete her dissertation on Globalization and New Bollywood Cinema, which explores the interplay between the global and the local in the work of the most recent generation of South Asian filmmakers. Jacquelyn Delin will pursue research on the nineteenth-century German-born, Texas-based sculptor Elisabet Nay. Rebecca Quinn Teresi, a specialist in painting of the Spanish Baroque who is completing a dissertation at Johns Hopkins called Images of the Immaculate Conception and the Rhetorics of Purity in Golden Age Spain. Rebecca will also teach a Master’s seminar this Fall on the History of Collecting. 

We are happy that current Fellows Virginia Curry and Fatemeh Tashakori, working on the history of Athenaea in the United States and eroticized images of western women in Persian art of the 17th-19th centuries, respectively, will remain with us in the Fall as well.

In Spring 2019 we will be delighted to welcome into the fold Ali Asgar Alibhai, who is completing a PhD at Harvard and will offer a Master’s seminar on the material and social histories of the medieval Islamic world, with special focus on “contact zones” like Sicily and North Africa, and working closely with objects held in the Keir Collection at the Dallas Museum of Art.

Benjamin Lima, Editor of Athenaeum Review, will chart next steps toward a publications program for the UT Dallas Athenaeum that is now in the works. 

Finally, we look forward to welcoming the inaugural class of our new Master’s program in Art History, a small group of outstanding students whom we look forward to teaching and mentoring, and who will make important contributions to the intellectual life of the O’Donnell Institute family.

Happy Summer!

Dr. Sarah K. Kozlowski

Associate Director

The Edith O’Donnell Institute of Art History

Become a Friend of EODIAH

Dear Friends of EODIAH:
This past quarter has been filled with many exciting and successful new programs that have been recently launched at the O’Donnell Institute.  It is through the support of our many friends and donors that we are able to invest in these new initiatives and continue our research and  graduate education at the O’Donnell Institute where our scholars and students explore the history of art across times, places, and cultures. This important global perspective is balanced and enriched by the interaction with original works of art throughout Dallas-Fort Worth and the world.
Our new Institute for the Study of American Art in China is a partnership between the O’Donnell Institute, the Amon Carter Museum of American Art, and Nanjing University in China and funded by the Terra Foundation.  It is dedicated to mentoring a new generation of Chinese scholars through a program of study tours to collections and sites throughout the United States. Our fledgling Center for the Art and Architectural History of Port Cities, in collaboration with the Capodimonte Museum in Naples, brings together scholars from throughout the world to understand the port city of Naples as a center of artistic encounter and exchange, while grounded in close study of artworks, sites, and research materials in Naples.

ISAAC Fellows at the Terra Foundation of American Art headquarters in Chicago with Curator Peter John Brownlee.

And we are proud to announce that next Fall, we will welcome the inaugural class of our new Master’s Program in Art History. These bright young art historians will take seminars on topics ranging from the Bauhaus to the global Baroque, while fully immersed in the collections of institutions throughout Dallas-Fort Worth.
Please call me with any questions if you would like to make a gift or need further information.  To make a gift today click here.
On behalf of Dr. Brettell and the staff, we thank you for your support and interest in the University of Dallas and the O’Donnell Institute – a unique and enriching resource for all of us.
Sincerely,

 

Lucy M. Buchanan
Director of Development
Edith O’Donnell Institute of Art History
415-992-1599

Art and Medicine at EODIAH

Bonnie Pitman, Distinguished Scholar in Residence, UT Dallas

EODIAH’s Art and Medicine programs continue to flourish. Bonnie Pitman, who launched Art and Medicine at The Edith O’Donnell Institute of Art History at UT Dallas, has been busy this Spring lecturing at UT Dallas, teaching her Art of Examination course through UT Southwestern, and advancing her research at the Center for Brain Health.

UT Dallas Lectures

In March, Pitman gave a lecture “The Art of Healing: New Approaches for Physicians and Patients” as part of the UT Dallas Arts and Humanities Symbiosis: Where Science Meets Art lecture series. Symbiosis is a UT Dallas campus group whose focus on the intersection between art and science aims to incorporate art education into science-focused degree programs. Pitman’s talk discussed artists with illnesses, nuances of observation, and EODIAH’s Art and Medicine programs that focus on close observation of works of art as used by medical schools to improve diagnostic practices with patients.

This Spring, Pitman gave a talk to UT Dallas undergraduate and graduate students in Professor Greg Metz’s Gallery Studies course at the new S/PN Gallery that focused on her research called the Power of Observation and her tenure as Executive Director of the Dallas Museum of Art.

Additionally, Pitman conducted two gallery tours this term for EODIAH art historians and guests at the Dallas Museum of Art, examining its collection through the lens of Art and Medicine and the Power of Observation.

Bonnie Pitman leads EODIAH scholars in Art and Medicine tour at the Dallas Museum of Art

Baylor Surgery Physicians & Residents retreat

 

On April 17, Pitman hosted 55 Baylor University Medical Center surgery physicians and residents, along with their instructors, at the Dallas Museum of Art for an all-day retreat in Art and Medicine.  Students were immersed in the museum’s galleries to receive training on close-looking, learning new skills on how to talk about art, relate to art, and relate to one another as well as completing team exercises focused on developing new communication and observation skills.

Baylor medical students engage in observational activities in the Dallas Museum of Art galleries

 

Art of Examination 

Finishing its fourth year, UT Southwestern’s preclinical elective The Art of Examination will see 32 new medical students having gained instruction on using the power of art to enhance their observation, communication, and empathy skills.

Bonnie Pitman leads the course 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.

This term’s sessions included Artists as Patients/Healing and the Arts, Mindfulness and Burnout, Visual Investigation with Art: The Human Form, Empathy and Compassion held at the Dallas Museum of Art, Nasher Sculpture Center, The Warehouse, The Crow Collection of Asian Art, UT Southwestern Medical Campus, and a special visit to a private collector’s home.

In each class, students gain new perspectives enhanced by interactive exercises that address topics including conservation, artists with disease, empathy, physician burnout, and cultural influences.

Art of Examination students at the Dallas Museum of Art

Bonnie Pitman lectures at the Brain Performance Institute, Center for Brain Health, UT Dallas

Center for Brain Health

As the Director of Art – Brain Innovations at the UT Dallas Center for BrainHealth, Bonnie Pitman continues to expand her research and teaching on the art of observation relative to neuroscience. She held sessions for people with Alzheimer’s and their caregivers that provided 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.  The Power of Observation was also the focus on her lecture in the “Sips and Science” series at the Brain Performance Institute, in which she explored how deeper stages of observation allow for greater concentration and attending in life. Drawing on works of art in the Dallas Museum of Art’s collection, Pitman’s programs at the Center for Brain Health develop skills for attending, connecting, analyzing, interpreting and creating, engaging participants in learning about art history. She will further these subjects by developing workshops this fall.

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

O’Donnell Institute Fellows’ Preview of Francisco Moreno’s The Chapel and Accompanying Works at Erin Cluley Gallery, April 4, 2018.

It’s been an exciting spring with guest lectures by distinguished art historians.  Dr. Yve-Alain Bois gave a riveting lecture at the Nasher Sculpture Center on Matisse’s use of the bamboo stick in his drawing practice, with a focus on his late stations of the cross.  Our O’Donnell Institute Visiting Research Professor, Dr. Suzanne Preston Blier, presented her new material on Picasso’s most famous painting, Les Demoiselles d’Avignon, soon to be published in a new book.  On the eve of his retirement Dr. Thomas Gaehtgens, Director of the Getty Research Institute, spoke about the ways in which the greatest 19th century German museum director, Wilhelm von Bode, dealt with the pervasive European fear that Americans were purloining European culture.

EODIAH’s own Drs. Sarah Kozlowski and Elizabeth Ranieri gave an exciting report on February 27 on the O’Donnell Institute’s new research center in Naples.  The Center for the Art and Architectural History of Port Cities will launch in Fall 2018, and great strides have been made to prepare for the first group of research residents, who will begin to arrive in August.

Our O’Donnell fellows had the opportunity to preview local artist Francisco Moreno’s The Chapel and Accompanying Works large-scale painting installation at Erin Cluley Gallery on April 4, prior to its public opening.  The presentation features Moreno’s all-encompassing painting surface based on the barrel-vaulted structure of the Spanish Romanesque mural paintings from the Hermitage of la Vera Cruz (Maderuelo) installed in the Prado, Madrid.  The Chapel will be on view through May 19 at the Erin Cluley Gallery.

Planning is underway for our fall programs; visit our website at https://utdallas.edu/arthistory/programs/ later this summer and plan your calendar!

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

Carolyn Brown donates photographic archives to the Edith O’Donnell Institute of Art History, University of Texas at Dallas

Carolyn Brown at the EODIAH Research Center at the Dallas Museum of Art

At the very beginning of the Edith O’Donnell Institute of Art History nearly four years ago, Dallas’ most important documentary photographer, Carolyn Brown, indicated that she would like to make the Institute a major bequest: the photographs, negatives, and digital rights for her fifty-year career as a documentary photographer in the Middle East, Latin America, and Texas. For two years, she has worked with our own Lauren LaRocca to select from her body of work a comprehensive group for digitization on a state-of-the-art Hasselblad digital scanner acquired for her use by the Institute.

This process has yielded work for three exhibitions at the Institute’s DMA space and others throughout the state. Carolyn has also identified works of art and decorative art from the Middle East and Mexico in her personal collection, which she will bequeath to the Institute for the use of our students and for the enlivening of our seminar rooms and offices.

My own collaboration with Carolyn began almost two decades ago, and her bequest will give us the basis for an important collection of digitized images and prints that poetically record major ancient Roman, Islamic, pre-Hispanic, and viceregal sites in the Middle East and Mexico, as well as important series of photographs of Fair Park, Texas A&M, South Creek Ranch, the abandoned slaughter houses of northern Fort Worth, Lake Caddo, and other major architectural and natural sites.

We celebrate her in this issue and thank her for her profound generosity. Below, she describes her career and the gift in her own words.

Richard R. Brettell, Ph.D.

Founding Director

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

Carolyn Brown and beloved dog Leroy

In 2016 I made the decision to will my extensive archive of still photography to the Edith O’Donnell Institute of Art History. The archive comprises roughly 75,000 photographs (transparencies, digital scans, digital photographs, and prints) of architectural sites in the Middle East, Mexico and Central America, Dallas (including Fair Park), and the campus of Texas A&M University, College Station. In collaboration with the O’Donnell Institute, we are currently organizing and digitizing the archive, and over time will make the archive accessible through an online research portal. While old photographers finally pass on, their photographs can live on for hundreds of years.

 

My journey with photography began in 1969 when I lived in Cairo, Egypt for three years to study Islamic Art and Architecture at Cairo American University. We made weekly group field trips to ancient Fatimid and Mameluke mosques. I bought a Nikon 35mm camera to document each site, and discovered the thrill of photographing ancient buildings—a beginning of what would became not only a livelihood, but an obsession.

 

Many of these early photographs were hand-held slide images of Egyptians at the pyramids, colorful markets, religious feasts, and along busy streets among the remnants of ancient Cairo. After returning to the United States, I honed my skills, invested in high-end equipment and worked commercially as an architectural photographer–often returning to my beloved Middle East with my medium format Hasselblad to build a large image collection of some of the world’s most historic ancient sites. Over a period of fifteen years I travelled and photographed throughout Egypt, Syria, Lebanon, Jordan, Palestine, Israel, Iraq, Yemen and Turkey.

 

As the Middle East archive grew, in 1991 I began to photograph pre-Hispanic archaeological sites, viceregal churches, and natural landscapes in Mexico. Within ten years I had documented locations in more than twenty Mexican states, and throughout Guatemala. I began photographing church exteriors in bright sun for full color and sharpness. Then I discovered the interior. This space lives with a vitality of its own, breathing and moving in a tangle of decorated ceilings, altars, and walls of golden richness and delicately crafted forms. The explosive display of texture, color, and meaning within the church interior is but a portion of that ten year journey. The Snow-capped volcanoes of Popocateptl and Iztaccíhuatl perch outside the churches in Puebla and Tlaxcala, and the clear blue waters of the Gulf of Mexico caress wide beaches of Veracruz and the Yucatan Peninsula, all bear witness to God’s majesty. At the end of winding dirt roads, across rich farmland and sometimes fog covered mountains, nestle pristine villages, each with a unique church in the village center or overlooking the world from a hilltop.

 

Carolyn Brown’s photographs installed at the Great Hall Entrance at Fair Park

 

With direction and inspiration from my dear friend Dr. Richard Brettell, in 2000 the Institute for the Study of Earth and Man at Southern Methodist University sponsored the historic exhibition of my photography, Sacred Space: Man and the Divine in Mexico, Guatemala and Southwest United States. Rick curated a selection of 300 photographs, many enlarged to thirty feet in length, filling the Hall of State at Fair Park during the State Fair. Thousands of fair-goers, school, and organization tours visited this exhibit during its six week run.

 

Rick and I worked together again in 2005 on Crafting Traditions: The Architecture of Mark Lemmon for the Meadows Museum. I photographed Lemmon’s contemporary Dallas buildings for the exhibit and catalogue, and Rick curated the large format exhibit, designed by David Gibson.

 

Carolyn Brown, Triumphal Arch at Roman city of Palmyra, Syria, 1989, photograph

Today I continue to exhibit and produce photographs for books, most recently Dallas: Portrait of a City (2014), Visions of a Southern Cypress Lake co-authored with Thad Sitton TAMU Press (2015), and Architecture that Speaks: The Legacy of SCP Vosper, Texas A&M University 1928-1932 with David Woodcock FAIA and Nancy McCoy FAIA by TAMU Press (2017). Since 2015, I’ve produced rotating exhibitions of my work at the Edith O’Donnell DMA Research Center, curated by Lauren LaRocca, including The Middle East,The Tiled Churches of Puebla, and Pattern in Islamic Art. I also regularly exhibit at Craighead Green Gallery in Dallas.

 

Carolyn Brown, Workmen: San Francisco Acatepec, Puebla, Mexico, 1995

The beauty of photography is that by looking at a photograph, one can immediately experience long-ago moments. The places and people I photograph will always be remembered exactly as they were that day the image was made. These experiences are an important part of incredible memories and will forever be in my heart—they are an important part of who I am today.

Carolyn Brown